Passages 2013

The Passage I (2013) refers to the function of turnstile between closure/passage and division/indivisibility. A full-height turnstile situated in the middle of a room where all the walls are covered with mirrors and its reflection is multiplied endlessly. The person who pass through the turnstile will not only experience the clostrophobic affect of one barrier but also the infinite repetition of it. The illusion of infinity caused by the mirrors challenges the concept of border, which represents the finite or the edge of something. The aporetic nature of the threshold which simultaneously divides/connects two sides and the philosophical dilemma between the finite and infinite is emphasized.

Full-height turnstiles are commonly used for high security reasons in many places such as border check-points, football stadiums, prisons and factories. They look more like a human cage than a gate. They are the size of a telephone box, all sides covered with iron bars and they have a turning system of iron bars that the passenger has to push hardly to pass through. Some of the types have also security cameras which surveys/controls the person. With all these properties, full-height turnstiles create a claustrophobic atmosphere, evoking a torturing instrument than a gate. They are the conditions of permission of access , while they evoke entrapment, torture, isolation and imprisonment.

The Passage II (2013) 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 existance of the sea, lying beyind these turnstiles reminds dangerous journeys of refugees, closed doors, impassable artificial and natural borders.

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.