Full height turnstiles are commonly used in the factories, border zones, prisons and football stadiums so they visualise the isolation/penetration property of an Heterotopia in an impressive way. They look more like a human cage than a gate. Some of their types also include surveillance cameras. They are the conditions of permission of access, while they evoke entrapment, torture, isolation and imprisonment. The Passage I (2013) refers to the function of turnstile between closure/passage and division/indivisibility. A full height turnstile is situated in the middle of a room, where all the walls are covered with mirrors and its image is multiplied endlessly. The person who pass from the turnstile wouldn’t experience only the claustrophobic affect of being inside swinging bars but an infinite repetition of that affect. The illusion of infinity caused by the mirrors conflicts with the nature of border; being an edge, end of something. Another level is added to the aporetic nature of the gate, which is constructed by the actions of making/re- moving borders and dividing/uniting Self and the Other: the conflict between the finite and infinite.

Passage II refers to another function of border: identification and reordering the geography by the principles of cartography. Turnstiles, standing in the middle of the sea, a vast and an unlimited space makes us reconsider the relations between the artificial and the natural, confined and infinite. Confining is also related to property and belonging. Identities are constructed and the land is owned by constructing borders. The feeling of infinity and void that the sea evokes deconstructs the meaning of the border. What lies beyond these turnstiles? International waters? Inter spaces, conflicted areas between countries? The uncanny existence of the sea, lying behind these turnstiles reminds dangerous journeys of refugees, closed doors, impassable artificial and natural borders. In another work, (Cage, 2013) an image of a full height turnstile is compared to an image of a human skeleton. The curved forms of the turnstile’s design evokes the ribcage. By using this analogy, the double meaning of the word ‘cage’ is deconstructed. Cage as a protective, organic structure inside the body (as in ribcage) and an artificial cage outside the body which entraps and imprisons. In ‘the Army’ (2013) tripod turnstiles perfectly put in order reminds the strict order of the military system. The black and white print with grains evokes the imagery used in tabloid press. Being perfectly identical to each other, these turnstiles are the signs of stereotyping and identification, that makes the persons who pass through them identical as well.

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