VOLKAN KIZILTUNÇ

THE MOMENTUM

 

One can argue that images can function as living things, and hence are metabolic. Let’s consider a metabolic arc from The Nightwatch (2011) to Momentum (2021). The voyeuristic mode of The Nightwatch which centers upon the nocturnal city continues with the artist’s latest video work Momentum builds on these environmental entanglements. In his visual triangle, the human meets the urban environment and the natural world yet the underlying current of voyeurism never disappears. Rather we witness an intense fight, for instance, the poignantly captured “Bitti” visible on the wall—which can be understood as either “It ended,” or “It is over”  in Turkish. Is it the friendship, love, or the precarious nature of the natural world that is coming to an end?   Volkan Kızıltunç aims to produce works on the threshold between contemporary art and cinema by creating a discussion on the linear narrative of the film and the structural features of video art, within the framework of the meanings revealed by successive images via utilizing deconstruction and coincidence. Momentum, builds on entanglements. In this visual triangle, the human meets the urban and the environment. The underlying current of voyeurism never disappears.   There is one thing that Momentum encapsulates, and that is the fact that the movement or momentum is never over. Kızıltunç observes, captures, and documents the movement in all its forms: the movement depicted, the movement of bodies (human or non-human), the movement within cities, the movement of the moving image, the moving quality of the work, and lastly what moves the artist and us as viewers. He captures that moment(um). 

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