Issue #14

“I now know that there exists another punctum (another "stigmatum") than the "detail." This new punctum, which is no longer of form but of intensity, is Time, the lacerating emphasis of the noeme ("that-has-been"), its pure representation.”

G.E.M Serials continues with two letters.

Orhan Cem Çetin's retrospective, curated by Marcus Graf, was exhibited recently. Even though we feel the necessity to discuss and write about it, we abstained from speaking about it in too ordinary words.

In his project “21,22,23…” Gidon Levin analyses a youngster's formation of self during and after his military service.

“This project is about nostalgia for the past, in some way, it is about disappearance." The text of Irina Volgareva's project "Pioneers" begins with this sentence. Volgareva brings together two different lifestyles by photographing postcards of children's camps from the USSR in nylon bags.

​“Press Release" is Sevinç Çalhanoğlu's work composed of exhibition bulletins. Although the project text was written by Çalhanoğlu, it also stands distant from her. Just like the exhibition bulletins, the narration is based on the conception of the outsider third-person singular.

Noah Mclaurine’s "Every Object" which can be regarded as a self-portraiture project, takes on the characteristics of an anthropological study.

It is possible to acquire an original image by cutting, attaching and piecing together independent visuals. But to make it in a digital environment?

“When The Shit Hits The Fan" is a common buzzword used in a TV program, Doomsday Preppers, emphasizing the climax when a well-prepared for disaster comes true.