UNCANNY GAMES in Tahtakale Hamam

Uncanny Games brings together 22 artists from various disciplines, exploring different meanings of the concept of “game” through their works and delving into the processes of play that we encounter in every aspect of life. The various games we play essentially highlight the state of uncanniness in which we live...

Why did you choose Tahtakale Hamamı Çarşısı for this exhibition?

As a location that is closely knit with the historical and contemporary texture of Istanbul and with its quotidian life, Tahtakale Hamam squarely conformed my thoughts as a exhibition location. It is important for me that it’s in a central hub like Emimönü, where people form all walks of life in the city mingles. As an art historian, it was very effective for me to espouse this historical locale.

Its usage as a market hall after its restoration, the forced re-purposing that pushed it outside its historical raison-d’etre, leads me to form connections with Istanbul, which we strayed form its identity whilst transforming it. The location itself is a rather difficult place in terms of setting up an exhibition. However, overcoming this issue was a crucial experience for me. We also attempted not to cause too much interference to the local business while also trying to include them in our project.

How did you proceed with the artists during the preparation of the exhibition?

I have gone through a long phase of contemplation in order to establish the concept of the exhibition. Then, it was the selection of the exhibition space. While I was sorting these out, I was also thinking about which artists to include to the project. After deciding upon the concept and the location, I had conversations with the artists and commissioned works exclusively for ‘Uncanny Games’.

Everybody was very elated and for me, that was one of the most important things. While I interfered to the space with the artists’ work, the space interfered to the works in turn. This inevitably caused some tension, which was something I actually desired.

The location of the exhibition is very interesting. Could you tell about your experiences with the people (probably all shop owners) around this environment?

This location is as close to arts historically as it’s far from arts contemporarily. There are shops everywhere; countless, non-descript. One can run into surprises at every corner; Tahtakale Hamam is such a place. One of the oldest and greatest baths in Istanbul now houses hardware stores, toy makers and cosmetic shops.

Shop owners in the vicinity tried to understand what we were doing all along but we could only explain it on the opening day. The exhibition and its agents inadvertently interfered with the living spaces around the locale. However, we adopted a common ground, we communicated. The finest example of this is the sale of the editions of Reysi Kamhi’s work in a nearby toyshop. Also, there are certain aspects that were reflected via social media. Shopkeepers have claimed that ‘Tahtakale had never seen such a festivity’, which was really rather pleasing.