the heritage as well as the descents of the anglo-saxons has carried out a society and agenda that define our modernity. science has no author, the speaker who tells the ‘history’ has no name, and theories have no “i”s. the absence of an author in the ‘objective truth’ that we live in has quietly contoured an angle that points towards a direction from which ‘a gaze’ has always been present, and it is the ‘un-presence’ of this ‘gazer’ that grants him his power and authority. 

is it problematic that this ‘gazer’ has such authority? the answer varies. but is any part of our humanity as well as any number of human beings suffering –  due to the presence of this authority? my answer is yes. hypothetically, will the collapse of this authority alleviate the pain that the others are going through? i do not know until i experiment with it. 

what if we make an attempt to break down this authority, both literally and figuratively, or in other words, from figuratively to literally? to figuratively break down the authority, we ‘analyse information’ of its authorship – imagine when the preface becomes part of the content, the footnotes become part of the content, the prologue becomes part of the content, and when the course of life of the author becomes part of the content – when every single existence becomes biographical, or becomes biographies, the notion of biography – the separation between the biographer and their subject, between he and the others, between the gazer and the gazed – as well as the power dynamics that this separation has inevitably built – diminishes. 

(when the film clips that i use are required of the credits of their authors, why is the tv that is playing the film clips not being asked for the same? do the anonymous coherently lack their own agency? here, i beg for an introspective gaze at the power dynamics of the discipline of architecture – the power dynamics that architecture inhabits, the power dynamics that it has inherited and carries on, and the power dynamics that it is passing down through education – the power dynamics that solve neither housing crisis nor racial issues…) 

in this installation, every medium and every piece of existence has a biography. 

not only the film clips – ‘the art’– will be ‘credited’ through texts, but also – the chronological and geographical memories of every pre-existed ‘artefacts’ – of ‘the anonymous’ – that you are looking at – will be present and equally displayed through texts. 

what determines the contour of ‘personal’? 

what negotiates the self and the surroundings? 

what do the breakdown of the narrative and the consistency of the objects suggest?