March 29 - April 30, 2017 - New York.
Emre Hüner, Neochronophobiq, 38 min., 3 channel, video still, 2015, courtesy Rodeo, London.
Opening reception: Wednesday, March 29, 6 – 8pm
Exhibition dates: March 29 – April 30, 2017
Hours: Thu – Sun, noon – 6pm
43 Essex Street, New York, between Grand & Hester
Protocinema presents Emre Hüner’s Neochronophobiq, 2015, a three-channel video that
explores the idea of perception of time through fictive artifacts and architectural entities.
Neochronophobiq is centered around various sculptural elements in different spaces including natural and man-made interiors, reminiscent of isolation chamber-experiments—landscapes of Anatolian Neolithic ruins, ritual sites such as Göbeklitepe, volcanic land formations and stone quarries. These objects are moved by a human figure, who simultaneously collects and observes them, played by actor Tómas Lemarquis. The main characters of Neochronophobiq—which are of unknown functions, at once archeological, organic, and futuristic—are the forms on the middle screen, linking the exteriors and interiors. The sculptures have undecipherable meanings and embody contradictions between scientific and magical interpretations. They perpetually spin like asteroids in space to be observed from all angles in all possible dimensions. The sites in this work shift possible relationships to geographic/geological time with traces of architecture and unidentifiable topographies and materialities. These places bring the viewer along the way to a non-time and to the idea of a world outside of the mind, language, beyond what may be graspable.
The title of this work is constructed in a similar way to the work itself—Neochronophobiq: is both new and Neolithic; Chronophobia is fear of time, Ubiquity is omnipresence, the state or capacity of being everywhere at the same time. “In Neochronophobiq these objects and landscapes are alive—like extreme metaphors of a petrified language, they have the sound of cracking glass, moving and transforming slowly, a tactile knowledge, objects of ritual, thought-forms, fired and glazed clay pieces which serve for a non-linear narrative in a post-human instance.”
Emre Hüner, b. 1977, Istanbul, Turkey, Solo exhibitions Include: Neochronophobiq, STUK,
Leuven, Belgium, 2016; SALT Ulus, Ankara, Turkey, 2016; Hypabyssal, Sala Seis, Marso, Mexico City, Mexico, 2016; Floating Cabin Rider Capsule Reactor Cycle, CCA Kitakyushu, Japan, 2015;
Aeolian Processes, CCA Kitakyushu, Japan, 2013; Mam Project 019: Emre Hüner, Mori Art Museum, Tokyo, 2013; Aeolian, Rodeo and Nesrin Esirtgen Collection, Istanbul, 2013; Salt 6, Utah Museum of Fine Arts, Salt Lake City, 2012; Adverse Stability, Extra City, Antwerp, 2010; The New Horizon, Stroom, Den Haag, 2010; Rodeo, Istanbul, 2009; Yama, The Marmara Pera Screen, Istanbul, 2008; Bent 003, BAS, Istanbul, 2007. Group exhibitions include: 14th Istanbul Biennale, IKSV, 2015; the Museum of Contemporary Art San Diego, US, 2014; and Manifesta 9, Belgium, 2011. Hüner attended the Brera Academy of Fine Arts in Milan. He held artist residencies at a.o., ISCP, SAHA Studio, NY, 2014; Shangri La, Doris Duke Foundation, Hawaii, 2011; Princeton University, 2010; the Rijksakademie van Beeldende Kunsten in Amsterdam, 2010, Apexart Inbound Residency Program, NY, 2009; and at Platform Garanti Contemporary Art Center, Istanbul, 2009.
Neochronophobiq was coproduced by Platform 0090 and Mathaf: Arab Museum of Modern Art and SAHA – Supporting Contemporary Art from Turkey.
Neochronophobiq was coproduced by Platform 0090 and Mathaf: Arab Museum of Modern Art and SAHA - Supporting Contemporary Art from Turkey.
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