......................................................................................................................................................................................................................
  Untitled 1 (NY),  2018   Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm  From the series of ‘ Public on Paper ’  In his recent work, Sukan has set out to identify alternative sites of public display and common space within the banal recesses of the everyday world. Collecting and adopting the sketch pads and papers that customers use for testing markers, pens and other drawing tools at art supply stores through years, from different cities around the world, Sukan considers how these test sheets serve as a vehicle for both intimate and exhibitionist performance as well as original social documents of a ritual that approximates the practices of graffiti art but makes no allowance for participation in a common culture. Unlike palimpsest or open-sourced editing platforms where history can be scraped clean and updated, the sketch pages collapse past and present straddling the line between private notation and public expression.  Treating the inscribed pages of these test pads as found objects, Sukan, scans and enlarges the sheets he collects and reproduces them at their expanded scale with an inkjet printer. For Sukan, these marks, are visible, yet invisible and their anonymity makes it difficult to locate the authorship and creative act. Sukan’s work questions the role of the artist in relation to a public sphere that often exists as a collection of the individual voices rather than a shared form of experience. His transformation of these sketch-filled pages suggests that while the artist offers another voice, it is one capable of giving form to that which litters the surface of the things.

Untitled 1 (NY), 2018 Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm

From the series of ‘Public on Paper

In his recent work, Sukan has set out to identify alternative sites of public display and common space within the banal recesses of the everyday world. Collecting and adopting the sketch pads and papers that customers use for testing markers, pens and other drawing tools at art supply stores through years, from different cities around the world, Sukan considers how these test sheets serve as a vehicle for both intimate and exhibitionist performance as well as original social documents of a ritual that approximates the practices of graffiti art but makes no allowance for participation in a common culture. Unlike palimpsest or open-sourced editing platforms where history can be scraped clean and updated, the sketch pages collapse past and present straddling the line between private notation and public expression.

Treating the inscribed pages of these test pads as found objects, Sukan, scans and enlarges the sheets he collects and reproduces them at their expanded scale with an inkjet printer. For Sukan, these marks, are visible, yet invisible and their anonymity makes it difficult to locate the authorship and creative act. Sukan’s work questions the role of the artist in relation to a public sphere that often exists as a collection of the individual voices rather than a shared form of experience. His transformation of these sketch-filled pages suggests that while the artist offers another voice, it is one capable of giving form to that which litters the surface of the things.

  Untitled 1 (NY),  2018   Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm  From the series of ‘Public on Paper’

Untitled 1 (NY), 2018 Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm

From the series of ‘Public on Paper’

  Untitled 3 (NY),  2018   Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm  From the series of ‘Public on Paper’

Untitled 3 (NY), 2018 Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm

From the series of ‘Public on Paper’

  Untitled 17 (NY),  2018   Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm  From the series of ‘Public on Paper’

Untitled 17 (NY), 2018 Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm

From the series of ‘Public on Paper’

  Untitled 11 (NY),  2018   Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm  From the series of ‘Public on Paper’

Untitled 11 (NY), 2018 Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm

From the series of ‘Public on Paper’

  'Public on Paper' ,  Installation view , OktemAykut, Istanbul, 2018

'Public on Paper', Installation view, OktemAykut, Istanbul, 2018

  'Public on Paper' ,  Installation view , OktemAykut, Istanbul, 2018

'Public on Paper', Installation view, OktemAykut, Istanbul, 2018

  Untitled 26 (NY),  2018   Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm  From the series of ‘Public on Paper’

Untitled 26 (NY), 2018 Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm

From the series of ‘Public on Paper’

  Untitled 12 (NY),  2018   Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm  From the series of ‘Public on Paper’

Untitled 12 (NY), 2018 Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm

From the series of ‘Public on Paper’

  Untitled 28 (NY),  2018   Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm  From the series of ‘Public on Paper’

Untitled 28 (NY), 2018 Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm

From the series of ‘Public on Paper’

  Untitled 13 (Paris),  2018   Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm  From the series of ‘Public on Paper’

Untitled 13 (Paris), 2018 Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm

From the series of ‘Public on Paper’

  Untitled 2 (NY),  2018   Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm  From the series of ‘Public on Paper’

Untitled 2 (NY), 2018 Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm

From the series of ‘Public on Paper’

  'Public on Paper' ,  Installation view , OktemAykut, Istanbul, 2018

'Public on Paper', Installation view, OktemAykut, Istanbul, 2018

  'Public on Paper' ,  Installation view , OktemAykut, Istanbul, 2018

'Public on Paper', Installation view, OktemAykut, Istanbul, 2018

  Untitled 15 (Istanbul),  2018   Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm  From the series of ‘Public on Paper’

Untitled 15 (Istanbul), 2018 Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm

From the series of ‘Public on Paper’

  Untitled 29 (Paris),  2018   Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm  From the series of ‘Public on Paper’

Untitled 29 (Paris), 2018 Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm

From the series of ‘Public on Paper’

  'Public on Paper' ,  Installation view , OktemAykut, Istanbul, 2018

'Public on Paper', Installation view, OktemAykut, Istanbul, 2018

  Untitled 14 (NY),  2018   Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm  From the series of ‘Public on Paper’

Untitled 14 (NY), 2018 Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm

From the series of ‘Public on Paper’

  Untitled 16 (Miami),  2018   Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm  From the series of ‘Public on Paper’

Untitled 16 (Miami), 2018 Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm

From the series of ‘Public on Paper’

  Untitled 22 (NY),  2018   Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm  From the series of ‘Public on Paper’

Untitled 22 (NY), 2018 Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm

From the series of ‘Public on Paper’

  'Public on Paper' ,  Installation view , OktemAykut, Istanbul, 2018

'Public on Paper', Installation view, OktemAykut, Istanbul, 2018

  Untitled 7 (Miami),  2018   Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm  From the series of ‘Public on Paper’

Untitled 7 (Miami), 2018 Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm

From the series of ‘Public on Paper’

  Untitled 6 (Miami),  2018   Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm  From the series of ‘Public on Paper’

Untitled 6 (Miami), 2018 Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm

From the series of ‘Public on Paper’

  'Public on Paper' ,  Installation view , OktemAykut, Istanbul, 2018

'Public on Paper', Installation view, OktemAykut, Istanbul, 2018

  Untitled 7 , 2014, Inkjet print on metallic paper mounted on aluminum, 100 x 150 cm  From the series of ‘ While you are surfing ’  The physical gestures that make up our interactions with touch-screen personal devices are intensely intimate yet abstract signatures of our everyday browsing and messaging patterns. In his  While you aresurfing  series, Arslan Sukan scans the surfaces of digital devices (iPhones) and manipulates the resulting images to isolate and enhance the fingerprints, dust and cracks which mark the screens. Sukan separates the intimate swipes and taps of screen navigation from any digital content, enlarging the marks to form anonymous and abstract landscapes. Printed on highly reflective metallic paper using an inkjet printer, each piece mirrors the context of its place of display, transforming the physical world and the body of the viewer into virtual content for the image surface. But, unlike fingers on a screen, the reflections leave no physical trace on their object. With  While you are surfing , Sukan questions whether our experiences with the digital world, which are mediated through a screen, are any less immediate or complete than our encounters with experiences in physical world.     While you are surfing  continues Sukan’s engagement with the role of artifice in presenting the real. Through a process that moves from the physical world to digital and back again, his work dissolves distinctions between matter and thought, gesture and image. This ongoing translation of material from one media format into another challenges viewer expectations at every turn.

Untitled 7, 2014, Inkjet print on metallic paper mounted on aluminum, 100 x 150 cm

From the series of ‘While you are surfing

The physical gestures that make up our interactions with touch-screen personal devices are intensely intimate yet abstract signatures of our everyday browsing and messaging patterns. In his While you aresurfing series, Arslan Sukan scans the surfaces of digital devices (iPhones) and manipulates the resulting images to isolate and enhance the fingerprints, dust and cracks which mark the screens. Sukan separates the intimate swipes and taps of screen navigation from any digital content, enlarging the marks to form anonymous and abstract landscapes. Printed on highly reflective metallic paper using an inkjet printer, each piece mirrors the context of its place of display, transforming the physical world and the body of the viewer into virtual content for the image surface. But, unlike fingers on a screen, the reflections leave no physical trace on their object. With While you are surfing, Sukan questions whether our experiences with the digital world, which are mediated through a screen, are any less immediate or complete than our encounters with experiences in physical world.

While you are surfing continues Sukan’s engagement with the role of artifice in presenting the real. Through a process that moves from the physical world to digital and back again, his work dissolves distinctions between matter and thought, gesture and image. This ongoing translation of material from one media format into another challenges viewer expectations at every turn.



  Untitled 12  , 2014, Inkjet print on metallic paper mounted on aluminum, 100 x 150 cm

Untitled 12, 2014, Inkjet print on metallic paper mounted on aluminum, 100 x 150 cm

  Untitled 15  , 2014, Inkjet print on metallic paper mounted on aluminum, 100 x 150 cm

Untitled 15, 2014, Inkjet print on metallic paper mounted on aluminum, 100 x 150 cm

  Untitled 3  , 2014, Inkjet print on metallic paper mounted on aluminum, 100 x 150 cm

Untitled 3, 2014, Inkjet print on metallic paper mounted on aluminum, 100 x 150 cm

  Untitled 17  , 2014, Inkjet print on metallic paper mounted on aluminum, 100 x 150 cm

Untitled 17, 2014, Inkjet print on metallic paper mounted on aluminum, 100 x 150 cm

  Untitled 16  , 2014, Inkjet print on metallic paper mounted on aluminum, 100 x 150 cm

Untitled 16, 2014, Inkjet print on metallic paper mounted on aluminum, 100 x 150 cm

  Untitled 5  , 2014, Inkjet print on metallic paper mounted on aluminum, 100 x 150 cm

Untitled 5, 2014, Inkjet print on metallic paper mounted on aluminum, 100 x 150 cm

  Untitled 11  , 2014, Inkjet print on metallic paper mounted on aluminum, 100 x 150 cm

Untitled 11, 2014, Inkjet print on metallic paper mounted on aluminum, 100 x 150 cm

  'While you are surfing' ,  Installation view , Five Eleven, New York, NY, 2015

'While you are surfing'Installation view, Five Eleven, New York, NY, 2015

  'While you are surfing' ,    Installation view  , Five Eleven, New York, NY, 2015

'While you are surfing', Installation view, Five Eleven, New York, NY, 2015

  'While you are surfing' ,  Installation view , Istanbul 74, Istanbul, TR 2015

'While you are surfing'Installation view, Istanbul 74, Istanbul, TR 2015

  Untitled 5 , 2013, Digital C-print mounted on masonite, 170 x 255 cm  From the series of ‘ InTheVisible ’  Sukan’s new photographic works explores the conventions of the modern  white cube  as both an architectural context and as a content subject in and of itself. By addressing the notions of spatial memory, presentation and representation, this exhibition enhances the confrontation between visibility and invisibility in social and phenomenological terms.    Arslan Sukan appropriates images from the internet of ‘ installation shots ’, white cube spaces within museums, galleries and art institutions around the world. His first step is returning them to their original state by digitally removing the artworks inside. He then manipulates the remaining image, 'the original condition of the gallery', by digitally painting some of the parts, like walls, ceilings or floors. Sukan's layered approach embraces the disputed characteristics of the white cube 'as a sacred space undisturbed by time'; at the same time it expands the potential of artistic intervention in a gallery by transforming the space itself on a plane surface. The artist’s reconceived images of uninterrupted spaces, composed of heightened geometrical shapes, touch base with the minimalist aesthetic and its emphasis on the viewer’s perception, while the flatness of the picture calls to mind the infinite possibilities in abstract paintings.  By means of deconstruction, intervention and reconstruction of the white cube, Sukan brings complicity between opposites and creates dualism between recognition and non-recognition, visibility and invisibility, abstraction and concrete concepts. The result is an entirely new space, an architecture of past and future, with a continuously shifting viewpoint. Sukan proposes a phenomenal situation, challenging the viewer on the realism of the photograph and the memory of a space, while also opening up the horizons of the viewer’s interpretation of the exhibition’s and their own immediate setting.

Untitled 5, 2013, Digital C-print mounted on masonite, 170 x 255 cm

From the series of ‘InTheVisible

Sukan’s new photographic works explores the conventions of the modern white cube as both an architectural context and as a content subject in and of itself. By addressing the notions of spatial memory, presentation and representation, this exhibition enhances the confrontation between visibility and invisibility in social and phenomenological terms.

Arslan Sukan appropriates images from the internet of ‘installation shots’, white cube spaces within museums, galleries and art institutions around the world. His first step is returning them to their original state by digitally removing the artworks inside. He then manipulates the remaining image, 'the original condition of the gallery', by digitally painting some of the parts, like walls, ceilings or floors. Sukan's layered approach embraces the disputed characteristics of the white cube 'as a sacred space undisturbed by time'; at the same time it expands the potential of artistic intervention in a gallery by transforming the space itself on a plane surface. The artist’s reconceived images of uninterrupted spaces, composed of heightened geometrical shapes, touch base with the minimalist aesthetic and its emphasis on the viewer’s perception, while the flatness of the picture calls to mind the infinite possibilities in abstract paintings.

By means of deconstruction, intervention and reconstruction of the white cube, Sukan brings complicity between opposites and creates dualism between recognition and non-recognition, visibility and invisibility, abstraction and concrete concepts. The result is an entirely new space, an architecture of past and future, with a continuously shifting viewpoint. Sukan proposes a phenomenal situation, challenging the viewer on the realism of the photograph and the memory of a space, while also opening up the horizons of the viewer’s interpretation of the exhibition’s and their own immediate setting.

  Untitled 0 , 2013, Digital C-print mounted on masonite, 100 x 133 cm

Untitled 0, 2013, Digital C-print mounted on masonite, 100 x 133 cm

  Untitled 18 , 2013, Digital C-print mounted on masonite, 120 x 170 cm

Untitled 18, 2013, Digital C-print mounted on masonite, 120 x 170 cm

  'IntheVisible' ,  Installation view , Galerist, Istanbul, 2013    

'IntheVisible'Installation view, Galerist, Istanbul, 2013   

  'IntheVisible' ,  Installation view , Galerist, Istanbul, 2013    

'IntheVisible'Installation view, Galerist, Istanbul, 2013   

  'IntheVisible' ,  Installation view , Galerist, Istanbul, 2013    

'IntheVisible'Installation view, Galerist, Istanbul, 2013   

  'IntheVisible' ,  Installation view , Galerist, Istanbul, 2013    

'IntheVisible'Installation view, Galerist, Istanbul, 2013   

  Untitled 1 , 2013, Digital C-print mounted on masonite, 100 x 150 cm

Untitled 1, 2013, Digital C-print mounted on masonite, 100 x 150 cm

  'IntheVisible' ,  Installation view , Galerist, Istanbul, 2013    

'IntheVisible'Installation view, Galerist, Istanbul, 2013   

  Untitled 3c , 2013, 3 channel video with sound, 8 min 

Untitled 3c, 2013, 3 channel video with sound, 8 min 

  'IntheVisible' ,  Installation view , Galerist, Istanbul, 2013

'IntheVisible'Installation view, Galerist, Istanbul, 2013

  Untitled 19 , 2013, Digital C-print mounted on masonite, 90 x 63 cm

Untitled 19, 2013, Digital C-print mounted on masonite, 90 x 63 cm

  Untitled 6 , 2013, Digital C-print mounted on masonite, 180 x 250 cm

Untitled 6, 2013, Digital C-print mounted on masonite, 180 x 250 cm

  'IntheVisible'   ,  Installation view , Haus Konstruktiv, Zurich, 2013

'IntheVisible'Installation view, Haus Konstruktiv, Zurich, 2013

  'IntheVisible' ,  Installation view , Galerist, Istanbul, 2013    

'IntheVisible'Installation view, Galerist, Istanbul, 2013   

  Untitled 24 , 2013, Digital C-print mounted on masonite, 80 x 120 cm

Untitled 24, 2013, Digital C-print mounted on masonite, 80 x 120 cm

  Untitled (Escape) , 2012, Photo paper in artist's frame, 40 x 35 x 8 cm

Untitled (Escape), 2012, Photo paper in artist's frame, 40 x 35 x 8 cm

 ' Hot Spot Istanbul' ,  Installation view , Haus Konstruktiv, Zurich, 2013   Untitled (Escape) , 2012, Photo paper in artists's frame, 34 x 40 cm

'Hot Spot Istanbul'Installation view, Haus Konstruktiv, Zurich, 2013

Untitled (Escape), 2012, Photo paper in artists's frame, 34 x 40 cm

  Untitled (6 feet) ,2012, Tape measure, 12 x 14 x 3 cm

Untitled (6 feet),2012, Tape measure, 12 x 14 x 3 cm

  Untitled (Variable) , 2012, Contour gauge, 16 x 32 x 2 cm

Untitled (Variable), 2012, Contour gauge, 16 x 32 x 2 cm

  Black box , 2010, C-print in artists' frame, 110 x 138 cm

Black box, 2010, C-print in artists' frame, 110 x 138 cm

  'Hot Spot Istanbul',   Installation view , Haus Konstruktiv, Zurich, 2013   Black box , 2010, C-print in artists's frame, 110 x 138 cm

'Hot Spot Istanbul', Installation view, Haus Konstruktiv, Zurich, 2013

Black box, 2010, C-print in artists's frame, 110 x 138 cm

  Now-here to now-here , 2009, C-print in artists' frame, 150 x 188 cm  From the series of ‘ While you are sleeping ’  In his seascape works, Sukan reconfigures his imagery connected to the constant tensions between the mental grasp of the specificity and representation.  He starts taking his pictures above sea level and contextualizes the scenes and brings out a new kind of perception. His use of digital manipulations and traditional photography creates unexpected effects. Now here to now here (2009), an image taken in Bosphorus, Istanbul, is a great example for duality of time, perception and space. It evokes infinity, by being nostalgic and futuristic at the same time. At first glance, the viewer may not be suspicious of the situation but in close inspection, questions arise; if this is a night time shot, how come the ships in motion looks so sharp as if they are from a frozen movie still. (It is a basic technical knowledge that night time photography needs long exposures.) The other side of duality comes out when we look at the full moon in the sky. The moon is in transit and clearly gives a hint that that the world or in this case another planet turns in its own axis. We are not talking about a technical skill but a great concept of representing the duality of time, space and perception. If there is a conclusion to this work, we can say he clearly plays with our sense of time and perception in this undefined space.  The work also creates a transformation of the natural world into an almost hallucinatory alternate reality. By reversing the color spectrum in (Now here to now here, Disappearance, Destiny) the subjects becomes simultaneously otherworldly and wholly familiar at the same time.  Red blast (2009), the viewer is again left to their own interpretation. A blast in the middle of the sea and red clouds of smoke surrounding the whole scene evokes a post-apocalyptic scene. Can this be a scene of a war, a celebration or a navy practice? Beyond simply demonstrating the unreliability of photography as a documentation medium, Sukan shows us that a picture is never just the sum of its parts.  By reconstructing these environments from one portion to another, Sukan raises some of the most elemental questions about the world we live.

Now-here to now-here, 2009, C-print in artists' frame, 150 x 188 cm

From the series of ‘While you are sleeping

In his seascape works, Sukan reconfigures his imagery connected to the constant tensions between the mental grasp of the specificity and representation.

He starts taking his pictures above sea level and contextualizes the scenes and brings out a new kind of perception. His use of digital manipulations and traditional photography creates unexpected effects. Now here to now here (2009), an image taken in Bosphorus, Istanbul, is a great example for duality of time, perception and space. It evokes infinity, by being nostalgic and futuristic at the same time. At first glance, the viewer may not be suspicious of the situation but in close inspection, questions arise; if this is a night time shot, how come the ships in motion looks so sharp as if they are from a frozen movie still. (It is a basic technical knowledge that night time photography needs long exposures.) The other side of duality comes out when we look at the full moon in the sky. The moon is in transit and clearly gives a hint that that the world or in this case another planet turns in its own axis. We are not talking about a technical skill but a great concept of representing the duality of time, space and perception. If there is a conclusion to this work, we can say he clearly plays with our sense of time and perception in this undefined space.

The work also creates a transformation of the natural world into an almost hallucinatory alternate reality. By reversing the color spectrum in (Now here to now here, Disappearance, Destiny) the subjects becomes simultaneously otherworldly and wholly familiar at the same time.

Red blast (2009), the viewer is again left to their own interpretation. A blast in the middle of the sea and red clouds of smoke surrounding the whole scene evokes a post-apocalyptic scene. Can this be a scene of a war, a celebration or a navy practice? Beyond simply demonstrating the unreliability of photography as a documentation medium, Sukan shows us that a picture is never just the sum of its parts.

By reconstructing these environments from one portion to another, Sukan raises some of the most elemental questions about the world we live.

  Disappearance , 2009, C-print in artists' frame, 105 x 134 cm

Disappearance, 2009, C-print in artists' frame, 105 x 134 cm

  Visible , 2009, C-print in artists' frame, 105 x 134 cm

Visible, 2009, C-print in artists' frame, 105 x 134 cm

  Destiny , 2009, C-print in artists' frame, 105 x 134 cm

Destiny, 2009, C-print in artists' frame, 105 x 134 cm

  Artificial Blast , 2009, C-print in artists' frame, 120 x 150 cm

Artificial Blast, 2009, C-print in artists' frame, 120 x 150 cm

  Red pause , 2009, C-print in artists' frame, 120 x 150 cm

Red pause, 2009, C-print in artists' frame, 120 x 150 cm

  Out of the red , 2009, C-print in artists' frame, 105 x 134 cm

Out of the red, 2009, C-print in artists' frame, 105 x 134 cm

  'While you are sleeping' ,  Installation view , Istanbul Modern Museum, 2017

'While you are sleeping'Installation view, Istanbul Modern Museum, 2017

  'While you are sleeping' ,  Installation view , MAXXI, Rome, 2013

'While you are sleeping'Installation view, MAXXI, Rome, 2013

  'While you are sleeping' ,  Installation view , Triennale di Milano, 2014

'While you are sleeping'Installation view, Triennale di Milano, 2014

  'While you are sleeping' ,  Installation view , Triennale Di Milano, 2014

'While you are sleeping'Installation view, Triennale Di Milano, 2014

  'While you are sleeping' ,  Installation view , Hotel Des Arts, Centre D'Art Du Conseil General Du Var, Toulon, 2016

'While you are sleeping'Installation view, Hotel Des Arts, Centre D'Art Du Conseil General Du Var, Toulon, 2016

  'While you are sleeping' ,  Installation view , Hotel Des Arts, Centre D'Art Du Conseil General Du Var, Toulon, 2016

'While you are sleeping'Installation view, Hotel Des Arts, Centre D'Art Du Conseil General Du Var, Toulon, 2016

  'While you are sleeping' ,  Installation view , Hotel Des Arts, Centre D'Art Du Conseil General Du Var, Toulon, 2016

'While you are sleeping'Installation view, Hotel Des Arts, Centre D'Art Du Conseil General Du Var, Toulon, 2016

Untitled 1 (NY), 2018 Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm

From the series of ‘Public on Paper

In his recent work, Sukan has set out to identify alternative sites of public display and common space within the banal recesses of the everyday world. Collecting and adopting the sketch pads and papers that customers use for testing markers, pens and other drawing tools at art supply stores through years, from different cities around the world, Sukan considers how these test sheets serve as a vehicle for both intimate and exhibitionist performance as well as original social documents of a ritual that approximates the practices of graffiti art but makes no allowance for participation in a common culture. Unlike palimpsest or open-sourced editing platforms where history can be scraped clean and updated, the sketch pages collapse past and present straddling the line between private notation and public expression.

Treating the inscribed pages of these test pads as found objects, Sukan, scans and enlarges the sheets he collects and reproduces them at their expanded scale with an inkjet printer. For Sukan, these marks, are visible, yet invisible and their anonymity makes it difficult to locate the authorship and creative act. Sukan’s work questions the role of the artist in relation to a public sphere that often exists as a collection of the individual voices rather than a shared form of experience. His transformation of these sketch-filled pages suggests that while the artist offers another voice, it is one capable of giving form to that which litters the surface of the things.

Untitled 1 (NY), 2018 Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm

From the series of ‘Public on Paper’

Untitled 3 (NY), 2018 Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm

From the series of ‘Public on Paper’

Untitled 17 (NY), 2018 Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm

From the series of ‘Public on Paper’

Untitled 11 (NY), 2018 Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm

From the series of ‘Public on Paper’

'Public on Paper', Installation view, OktemAykut, Istanbul, 2018

'Public on Paper', Installation view, OktemAykut, Istanbul, 2018

Untitled 26 (NY), 2018 Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm

From the series of ‘Public on Paper’

Untitled 12 (NY), 2018 Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm

From the series of ‘Public on Paper’

Untitled 28 (NY), 2018 Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm

From the series of ‘Public on Paper’

Untitled 13 (Paris), 2018 Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm

From the series of ‘Public on Paper’

Untitled 2 (NY), 2018 Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm

From the series of ‘Public on Paper’

'Public on Paper', Installation view, OktemAykut, Istanbul, 2018

'Public on Paper', Installation view, OktemAykut, Istanbul, 2018

Untitled 15 (Istanbul), 2018 Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm

From the series of ‘Public on Paper’

Untitled 29 (Paris), 2018 Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm

From the series of ‘Public on Paper’

'Public on Paper', Installation view, OktemAykut, Istanbul, 2018

Untitled 14 (NY), 2018 Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm

From the series of ‘Public on Paper’

Untitled 16 (Miami), 2018 Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm

From the series of ‘Public on Paper’

Untitled 22 (NY), 2018 Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm

From the series of ‘Public on Paper’

'Public on Paper', Installation view, OktemAykut, Istanbul, 2018

Untitled 7 (Miami), 2018 Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm

From the series of ‘Public on Paper’

Untitled 6 (Miami), 2018 Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm

From the series of ‘Public on Paper’

'Public on Paper', Installation view, OktemAykut, Istanbul, 2018

Untitled 7, 2014, Inkjet print on metallic paper mounted on aluminum, 100 x 150 cm

From the series of ‘While you are surfing

The physical gestures that make up our interactions with touch-screen personal devices are intensely intimate yet abstract signatures of our everyday browsing and messaging patterns. In his While you aresurfing series, Arslan Sukan scans the surfaces of digital devices (iPhones) and manipulates the resulting images to isolate and enhance the fingerprints, dust and cracks which mark the screens. Sukan separates the intimate swipes and taps of screen navigation from any digital content, enlarging the marks to form anonymous and abstract landscapes. Printed on highly reflective metallic paper using an inkjet printer, each piece mirrors the context of its place of display, transforming the physical world and the body of the viewer into virtual content for the image surface. But, unlike fingers on a screen, the reflections leave no physical trace on their object. With While you are surfing, Sukan questions whether our experiences with the digital world, which are mediated through a screen, are any less immediate or complete than our encounters with experiences in physical world.

While you are surfing continues Sukan’s engagement with the role of artifice in presenting the real. Through a process that moves from the physical world to digital and back again, his work dissolves distinctions between matter and thought, gesture and image. This ongoing translation of material from one media format into another challenges viewer expectations at every turn.



Untitled 12, 2014, Inkjet print on metallic paper mounted on aluminum, 100 x 150 cm

Untitled 15, 2014, Inkjet print on metallic paper mounted on aluminum, 100 x 150 cm

Untitled 3, 2014, Inkjet print on metallic paper mounted on aluminum, 100 x 150 cm

Untitled 17, 2014, Inkjet print on metallic paper mounted on aluminum, 100 x 150 cm

Untitled 16, 2014, Inkjet print on metallic paper mounted on aluminum, 100 x 150 cm

Untitled 5, 2014, Inkjet print on metallic paper mounted on aluminum, 100 x 150 cm

Untitled 11, 2014, Inkjet print on metallic paper mounted on aluminum, 100 x 150 cm

'While you are surfing'Installation view, Five Eleven, New York, NY, 2015

'While you are surfing', Installation view, Five Eleven, New York, NY, 2015

'While you are surfing'Installation view, Istanbul 74, Istanbul, TR 2015

Untitled 5, 2013, Digital C-print mounted on masonite, 170 x 255 cm

From the series of ‘InTheVisible

Sukan’s new photographic works explores the conventions of the modern white cube as both an architectural context and as a content subject in and of itself. By addressing the notions of spatial memory, presentation and representation, this exhibition enhances the confrontation between visibility and invisibility in social and phenomenological terms.

Arslan Sukan appropriates images from the internet of ‘installation shots’, white cube spaces within museums, galleries and art institutions around the world. His first step is returning them to their original state by digitally removing the artworks inside. He then manipulates the remaining image, 'the original condition of the gallery', by digitally painting some of the parts, like walls, ceilings or floors. Sukan's layered approach embraces the disputed characteristics of the white cube 'as a sacred space undisturbed by time'; at the same time it expands the potential of artistic intervention in a gallery by transforming the space itself on a plane surface. The artist’s reconceived images of uninterrupted spaces, composed of heightened geometrical shapes, touch base with the minimalist aesthetic and its emphasis on the viewer’s perception, while the flatness of the picture calls to mind the infinite possibilities in abstract paintings.

By means of deconstruction, intervention and reconstruction of the white cube, Sukan brings complicity between opposites and creates dualism between recognition and non-recognition, visibility and invisibility, abstraction and concrete concepts. The result is an entirely new space, an architecture of past and future, with a continuously shifting viewpoint. Sukan proposes a phenomenal situation, challenging the viewer on the realism of the photograph and the memory of a space, while also opening up the horizons of the viewer’s interpretation of the exhibition’s and their own immediate setting.

Untitled 0, 2013, Digital C-print mounted on masonite, 100 x 133 cm

Untitled 18, 2013, Digital C-print mounted on masonite, 120 x 170 cm

'IntheVisible'Installation view, Galerist, Istanbul, 2013   

'IntheVisible'Installation view, Galerist, Istanbul, 2013   

'IntheVisible'Installation view, Galerist, Istanbul, 2013   

'IntheVisible'Installation view, Galerist, Istanbul, 2013   

Untitled 1, 2013, Digital C-print mounted on masonite, 100 x 150 cm

'IntheVisible'Installation view, Galerist, Istanbul, 2013   

Untitled 3c, 2013, 3 channel video with sound, 8 min 

'IntheVisible'Installation view, Galerist, Istanbul, 2013

Untitled 19, 2013, Digital C-print mounted on masonite, 90 x 63 cm

Untitled 6, 2013, Digital C-print mounted on masonite, 180 x 250 cm

'IntheVisible'Installation view, Haus Konstruktiv, Zurich, 2013

'IntheVisible'Installation view, Galerist, Istanbul, 2013   

Untitled 24, 2013, Digital C-print mounted on masonite, 80 x 120 cm

Untitled (Escape), 2012, Photo paper in artist's frame, 40 x 35 x 8 cm

'Hot Spot Istanbul'Installation view, Haus Konstruktiv, Zurich, 2013

Untitled (Escape), 2012, Photo paper in artists's frame, 34 x 40 cm

Untitled (6 feet),2012, Tape measure, 12 x 14 x 3 cm

Untitled (Variable), 2012, Contour gauge, 16 x 32 x 2 cm

Black box, 2010, C-print in artists' frame, 110 x 138 cm

'Hot Spot Istanbul', Installation view, Haus Konstruktiv, Zurich, 2013

Black box, 2010, C-print in artists's frame, 110 x 138 cm

Now-here to now-here, 2009, C-print in artists' frame, 150 x 188 cm

From the series of ‘While you are sleeping

In his seascape works, Sukan reconfigures his imagery connected to the constant tensions between the mental grasp of the specificity and representation.

He starts taking his pictures above sea level and contextualizes the scenes and brings out a new kind of perception. His use of digital manipulations and traditional photography creates unexpected effects. Now here to now here (2009), an image taken in Bosphorus, Istanbul, is a great example for duality of time, perception and space. It evokes infinity, by being nostalgic and futuristic at the same time. At first glance, the viewer may not be suspicious of the situation but in close inspection, questions arise; if this is a night time shot, how come the ships in motion looks so sharp as if they are from a frozen movie still. (It is a basic technical knowledge that night time photography needs long exposures.) The other side of duality comes out when we look at the full moon in the sky. The moon is in transit and clearly gives a hint that that the world or in this case another planet turns in its own axis. We are not talking about a technical skill but a great concept of representing the duality of time, space and perception. If there is a conclusion to this work, we can say he clearly plays with our sense of time and perception in this undefined space.

The work also creates a transformation of the natural world into an almost hallucinatory alternate reality. By reversing the color spectrum in (Now here to now here, Disappearance, Destiny) the subjects becomes simultaneously otherworldly and wholly familiar at the same time.

Red blast (2009), the viewer is again left to their own interpretation. A blast in the middle of the sea and red clouds of smoke surrounding the whole scene evokes a post-apocalyptic scene. Can this be a scene of a war, a celebration or a navy practice? Beyond simply demonstrating the unreliability of photography as a documentation medium, Sukan shows us that a picture is never just the sum of its parts.

By reconstructing these environments from one portion to another, Sukan raises some of the most elemental questions about the world we live.

Disappearance, 2009, C-print in artists' frame, 105 x 134 cm

Visible, 2009, C-print in artists' frame, 105 x 134 cm

Destiny, 2009, C-print in artists' frame, 105 x 134 cm

Artificial Blast, 2009, C-print in artists' frame, 120 x 150 cm

Red pause, 2009, C-print in artists' frame, 120 x 150 cm

Out of the red, 2009, C-print in artists' frame, 105 x 134 cm

'While you are sleeping'Installation view, Istanbul Modern Museum, 2017

'While you are sleeping'Installation view, MAXXI, Rome, 2013

'While you are sleeping'Installation view, Triennale di Milano, 2014

'While you are sleeping'Installation view, Triennale Di Milano, 2014

'While you are sleeping'Installation view, Hotel Des Arts, Centre D'Art Du Conseil General Du Var, Toulon, 2016

'While you are sleeping'Installation view, Hotel Des Arts, Centre D'Art Du Conseil General Du Var, Toulon, 2016

'While you are sleeping'Installation view, Hotel Des Arts, Centre D'Art Du Conseil General Du Var, Toulon, 2016

  Untitled 1 (NY),  2018   Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm  From the series of ‘ Public on Paper ’  In his recent work, Sukan has set out to identify alternative sites of public display and common space within the banal recesses of the everyday world. Collecting and adopting the sketch pads and papers that customers use for testing markers, pens and other drawing tools at art supply stores through years, from different cities around the world, Sukan considers how these test sheets serve as a vehicle for both intimate and exhibitionist performance as well as original social documents of a ritual that approximates the practices of graffiti art but makes no allowance for participation in a common culture. Unlike palimpsest or open-sourced editing platforms where history can be scraped clean and updated, the sketch pages collapse past and present straddling the line between private notation and public expression.  Treating the inscribed pages of these test pads as found objects, Sukan, scans and enlarges the sheets he collects and reproduces them at their expanded scale with an inkjet printer. For Sukan, these marks, are visible, yet invisible and their anonymity makes it difficult to locate the authorship and creative act. Sukan’s work questions the role of the artist in relation to a public sphere that often exists as a collection of the individual voices rather than a shared form of experience. His transformation of these sketch-filled pages suggests that while the artist offers another voice, it is one capable of giving form to that which litters the surface of the things.
  Untitled 1 (NY),  2018   Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm  From the series of ‘Public on Paper’
  Untitled 3 (NY),  2018   Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm  From the series of ‘Public on Paper’
  Untitled 17 (NY),  2018   Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm  From the series of ‘Public on Paper’
  Untitled 11 (NY),  2018   Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm  From the series of ‘Public on Paper’
  'Public on Paper' ,  Installation view , OktemAykut, Istanbul, 2018
  'Public on Paper' ,  Installation view , OktemAykut, Istanbul, 2018
  Untitled 26 (NY),  2018   Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm  From the series of ‘Public on Paper’
  Untitled 12 (NY),  2018   Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm  From the series of ‘Public on Paper’
  Untitled 28 (NY),  2018   Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm  From the series of ‘Public on Paper’
  Untitled 13 (Paris),  2018   Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm  From the series of ‘Public on Paper’
  Untitled 2 (NY),  2018   Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm  From the series of ‘Public on Paper’
  'Public on Paper' ,  Installation view , OktemAykut, Istanbul, 2018
  'Public on Paper' ,  Installation view , OktemAykut, Istanbul, 2018
  Untitled 15 (Istanbul),  2018   Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm  From the series of ‘Public on Paper’
  Untitled 29 (Paris),  2018   Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm  From the series of ‘Public on Paper’
  'Public on Paper' ,  Installation view , OktemAykut, Istanbul, 2018
  Untitled 14 (NY),  2018   Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm  From the series of ‘Public on Paper’
  Untitled 16 (Miami),  2018   Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm  From the series of ‘Public on Paper’
  Untitled 22 (NY),  2018   Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm  From the series of ‘Public on Paper’
  'Public on Paper' ,  Installation view , OktemAykut, Istanbul, 2018
  Untitled 7 (Miami),  2018   Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm  From the series of ‘Public on Paper’
  Untitled 6 (Miami),  2018   Inkjet print on fine art paper mounted on wood panel, 150cm x 100cm  From the series of ‘Public on Paper’
  'Public on Paper' ,  Installation view , OktemAykut, Istanbul, 2018
  Untitled 7 , 2014, Inkjet print on metallic paper mounted on aluminum, 100 x 150 cm  From the series of ‘ While you are surfing ’  The physical gestures that make up our interactions with touch-screen personal devices are intensely intimate yet abstract signatures of our everyday browsing and messaging patterns. In his  While you aresurfing  series, Arslan Sukan scans the surfaces of digital devices (iPhones) and manipulates the resulting images to isolate and enhance the fingerprints, dust and cracks which mark the screens. Sukan separates the intimate swipes and taps of screen navigation from any digital content, enlarging the marks to form anonymous and abstract landscapes. Printed on highly reflective metallic paper using an inkjet printer, each piece mirrors the context of its place of display, transforming the physical world and the body of the viewer into virtual content for the image surface. But, unlike fingers on a screen, the reflections leave no physical trace on their object. With  While you are surfing , Sukan questions whether our experiences with the digital world, which are mediated through a screen, are any less immediate or complete than our encounters with experiences in physical world.     While you are surfing  continues Sukan’s engagement with the role of artifice in presenting the real. Through a process that moves from the physical world to digital and back again, his work dissolves distinctions between matter and thought, gesture and image. This ongoing translation of material from one media format into another challenges viewer expectations at every turn.
  Untitled 12  , 2014, Inkjet print on metallic paper mounted on aluminum, 100 x 150 cm
  Untitled 15  , 2014, Inkjet print on metallic paper mounted on aluminum, 100 x 150 cm
  Untitled 3  , 2014, Inkjet print on metallic paper mounted on aluminum, 100 x 150 cm
  Untitled 17  , 2014, Inkjet print on metallic paper mounted on aluminum, 100 x 150 cm
  Untitled 16  , 2014, Inkjet print on metallic paper mounted on aluminum, 100 x 150 cm
  Untitled 5  , 2014, Inkjet print on metallic paper mounted on aluminum, 100 x 150 cm
  Untitled 11  , 2014, Inkjet print on metallic paper mounted on aluminum, 100 x 150 cm
  'While you are surfing' ,  Installation view , Five Eleven, New York, NY, 2015
  'While you are surfing' ,    Installation view  , Five Eleven, New York, NY, 2015
  'While you are surfing' ,  Installation view , Istanbul 74, Istanbul, TR 2015
  Untitled 5 , 2013, Digital C-print mounted on masonite, 170 x 255 cm  From the series of ‘ InTheVisible ’  Sukan’s new photographic works explores the conventions of the modern  white cube  as both an architectural context and as a content subject in and of itself. By addressing the notions of spatial memory, presentation and representation, this exhibition enhances the confrontation between visibility and invisibility in social and phenomenological terms.    Arslan Sukan appropriates images from the internet of ‘ installation shots ’, white cube spaces within museums, galleries and art institutions around the world. His first step is returning them to their original state by digitally removing the artworks inside. He then manipulates the remaining image, 'the original condition of the gallery', by digitally painting some of the parts, like walls, ceilings or floors. Sukan's layered approach embraces the disputed characteristics of the white cube 'as a sacred space undisturbed by time'; at the same time it expands the potential of artistic intervention in a gallery by transforming the space itself on a plane surface. The artist’s reconceived images of uninterrupted spaces, composed of heightened geometrical shapes, touch base with the minimalist aesthetic and its emphasis on the viewer’s perception, while the flatness of the picture calls to mind the infinite possibilities in abstract paintings.  By means of deconstruction, intervention and reconstruction of the white cube, Sukan brings complicity between opposites and creates dualism between recognition and non-recognition, visibility and invisibility, abstraction and concrete concepts. The result is an entirely new space, an architecture of past and future, with a continuously shifting viewpoint. Sukan proposes a phenomenal situation, challenging the viewer on the realism of the photograph and the memory of a space, while also opening up the horizons of the viewer’s interpretation of the exhibition’s and their own immediate setting.
  Untitled 0 , 2013, Digital C-print mounted on masonite, 100 x 133 cm
  Untitled 18 , 2013, Digital C-print mounted on masonite, 120 x 170 cm
  'IntheVisible' ,  Installation view , Galerist, Istanbul, 2013    
  'IntheVisible' ,  Installation view , Galerist, Istanbul, 2013    
  'IntheVisible' ,  Installation view , Galerist, Istanbul, 2013    
  'IntheVisible' ,  Installation view , Galerist, Istanbul, 2013    
  Untitled 1 , 2013, Digital C-print mounted on masonite, 100 x 150 cm
  'IntheVisible' ,  Installation view , Galerist, Istanbul, 2013    
  Untitled 3c , 2013, 3 channel video with sound, 8 min 
  'IntheVisible' ,  Installation view , Galerist, Istanbul, 2013
  Untitled 19 , 2013, Digital C-print mounted on masonite, 90 x 63 cm
  Untitled 6 , 2013, Digital C-print mounted on masonite, 180 x 250 cm
  'IntheVisible'   ,  Installation view , Haus Konstruktiv, Zurich, 2013
  'IntheVisible' ,  Installation view , Galerist, Istanbul, 2013    
  Untitled 24 , 2013, Digital C-print mounted on masonite, 80 x 120 cm
  Untitled (Escape) , 2012, Photo paper in artist's frame, 40 x 35 x 8 cm
 ' Hot Spot Istanbul' ,  Installation view , Haus Konstruktiv, Zurich, 2013   Untitled (Escape) , 2012, Photo paper in artists's frame, 34 x 40 cm
  Untitled (6 feet) ,2012, Tape measure, 12 x 14 x 3 cm
  Untitled (Variable) , 2012, Contour gauge, 16 x 32 x 2 cm
  Black box , 2010, C-print in artists' frame, 110 x 138 cm
  'Hot Spot Istanbul',   Installation view , Haus Konstruktiv, Zurich, 2013   Black box , 2010, C-print in artists's frame, 110 x 138 cm
  Now-here to now-here , 2009, C-print in artists' frame, 150 x 188 cm  From the series of ‘ While you are sleeping ’  In his seascape works, Sukan reconfigures his imagery connected to the constant tensions between the mental grasp of the specificity and representation.  He starts taking his pictures above sea level and contextualizes the scenes and brings out a new kind of perception. His use of digital manipulations and traditional photography creates unexpected effects. Now here to now here (2009), an image taken in Bosphorus, Istanbul, is a great example for duality of time, perception and space. It evokes infinity, by being nostalgic and futuristic at the same time. At first glance, the viewer may not be suspicious of the situation but in close inspection, questions arise; if this is a night time shot, how come the ships in motion looks so sharp as if they are from a frozen movie still. (It is a basic technical knowledge that night time photography needs long exposures.) The other side of duality comes out when we look at the full moon in the sky. The moon is in transit and clearly gives a hint that that the world or in this case another planet turns in its own axis. We are not talking about a technical skill but a great concept of representing the duality of time, space and perception. If there is a conclusion to this work, we can say he clearly plays with our sense of time and perception in this undefined space.  The work also creates a transformation of the natural world into an almost hallucinatory alternate reality. By reversing the color spectrum in (Now here to now here, Disappearance, Destiny) the subjects becomes simultaneously otherworldly and wholly familiar at the same time.  Red blast (2009), the viewer is again left to their own interpretation. A blast in the middle of the sea and red clouds of smoke surrounding the whole scene evokes a post-apocalyptic scene. Can this be a scene of a war, a celebration or a navy practice? Beyond simply demonstrating the unreliability of photography as a documentation medium, Sukan shows us that a picture is never just the sum of its parts.  By reconstructing these environments from one portion to another, Sukan raises some of the most elemental questions about the world we live.
  Disappearance , 2009, C-print in artists' frame, 105 x 134 cm
  Visible , 2009, C-print in artists' frame, 105 x 134 cm
  Destiny , 2009, C-print in artists' frame, 105 x 134 cm
  Artificial Blast , 2009, C-print in artists' frame, 120 x 150 cm
  Red pause , 2009, C-print in artists' frame, 120 x 150 cm
  Out of the red , 2009, C-print in artists' frame, 105 x 134 cm
  'While you are sleeping' ,  Installation view , Istanbul Modern Museum, 2017
  'While you are sleeping' ,  Installation view , MAXXI, Rome, 2013
  'While you are sleeping' ,  Installation view , Triennale di Milano, 2014
  'While you are sleeping' ,  Installation view , Triennale Di Milano, 2014
  'While you are sleeping' ,  Installation view , Hotel Des Arts, Centre D'Art Du Conseil General Du Var, Toulon, 2016
  'While you are sleeping' ,  Installation view , Hotel Des Arts, Centre D'Art Du Conseil General Du Var, Toulon, 2016
  'While you are sleeping' ,  Installation view , Hotel Des Arts, Centre D'Art Du Conseil General Du Var, Toulon, 2016