Blurry but Clear

Blurry but Clear

Ahmet Elhan, Ayşe Erkmen, Karin Sander 

Conceptual framework:

“Empty salons. Corridors. Salons. Doors. Doors. Salons. Empty chairs, deep armchairs, thick carpets. Heavy hangings. Stairs, steps. Steps, one after the other. Glass objects, objects still intact, empty glasses. A glass that falls, three, two, one, zero. Glass partition, letters, a letter lost. Keys hanging from their rings, in their assigned place, lined up in successive rows, numbered door keys. 309, 307, 305, 303, chandeliers. Chandeliers. Beads. Unsilvered mirrors. Mirrors. Empty corridors as far as the eye can see...”

In "Last Year at Marienbad", Alain Robbe-Grillet sought and found the poetics of emptiness, emptiness as a mass. Figures, their faces, attitudes, volumes, specific densities, whatever they are is there in the middle of emptiness: remember! 
Alain Resnais is a filmmaker. He visualized all of this with a spatial and temporal shift peculiar to dreams, all the hesitations that might come to mind, from black to white.  

How much can we rely on the memory of the eye? Ahmet Elhan tests the monolithic nature of the image with two very similar shots viewed through a lattice. Before and after, two different moments, two separate times, times out of joint.
It’s not always easy to count from one to ten. Ayşe Erkmen has invented a specific notation of this: logarithmic steps with typewriter characters.
In her attempt to get lost in her name, Karin Sander met with sixty-four Karin Sanders, quorum for a true self-portrait.

Last year, we were in Marienbad, last year once again we’ll be there.