Sabanci
Squash,
video 10min, 2005
with: Nameera Ahmed, Jule Jurgens, Victoria Orejuela Lopez
In her video 'Squash', Zorka Wollny presents four girls closed behind a glass pane, taking part in a game invented by inmates for inmates. They move about, Graces-like, in the confined space where the dividing lines bring associations with Mondrian's neo-plastic painting. The voyeuristic satisfaction provided by the artist reveals the character of the picture, where the viewer and viewee become prisoners of their perspectives.
(Ewa Małgorzata Tatar, 'Malarstwo - prad zmienny' - catalogue)
The 'Sabanci' video cycle was made during a half year scholarship at the Sabanci University in Istanbul. The Sabanci University is placed 40 kilometers from the city, and is a closed organism, organized on the American model. Although the University focuses on social and political sciences, the campus reality is a world of it's own, where young Turkish - the future elite - play baseball (boys) and squash (girls). It is a very uncomplicated world, which inspired me to make the pleasant and picturesque video 'Squash', which however can be understood as a critique if you look at it in a context.
Squash was shown at the 'Sabanci' solo exhibition (Fait Gallery, Krakow 2005), 'Nieproduktywnosc' (Galeria Dla..., Torun 2007), 'Malarstwo - prad zmienny' (BWA Wroclaw 2007), 'Tralogo Festival' (Teatro Franco Paventi, Milan 2007)
Sabanci (series of 5 video works)
5x3min,
2005
with Anna Wieteska and Razvan Dumitru.
The interesting issue was also how the private and the public sphere coexists on the campus. The cycle of five video works show empty classes, cold and well designed spaces, marred by the small movements on the border of the frames. It is a pair of lovers. We can feel their presence, but we cannot watch them.
Sabanci cycle was shown at 'Sabanci' exhibition (Fait Gallery, Krakow 2005), 'W Samym Centrum Uwagi II' (Zamek Ujazdowski Warszawa 2005), 'Videokonnotationen' (Krakauen-house, Nurnberg 2007).
Sabanci - exhibition/instalation, Fait gallery, 2005
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