Fenestræ from Mert Akbal on Vimeo.

 
Fenestræ is an 8 channel video installation trying to restaurate the original stained glass paintings of the Basilica St.Johann which were destroyed during the second world war.
The original paintings were depicting different stories from the life stories of prophets such as Eve & Adam, Abraham, Moses, John the Baptist,David & Nathan and Jacob.
I made contemporary interpretations of these stories as animations adding two more stories of Jesus of Nazareth as a tekton (craftsmen) and of Mary Magdalene as an apostle (messenger). The installation was presented within the framework of the Prix d’Art Robert Schuman 2013
from 30.12.2013 till 12.01.2014 in Basilica St.Johann, Saarbruecken, Germany.
                       
 

Avian Flight Simulator - Video Documentation (Stuttgart, Istanbul, Saarbruecken) from Mert Akbal


Avian Flight Simulator is an experimental work to bring the experience of dream flying into reality. It can be defined as a flight simulation that is controlled by a video camera that tracks one’s body movements. In this simulator, the player flaps his arms to fly and uses his body both to rotate and tilt. The skeletal movements are captured by a depth sensor and then processed through the Blender game engine. In the first version of Avian Flight Simulator, the player’s avatar is a butterfly. The butterfly image has been chosen in reference to the famous dream of the Taoist philosopher Zhuangzi, who dreams of himself as a butterfly fluttering around in the sky, unaware of his true identity. The work is presented at the Regional Conference of the International Association for the Study of Dreams (IASD) in the city of Bern, Switzerland on 7.- 9. September 2012, at the International Fortum for Psychomotoric, Performance, Interaction in the Kunstmuseum Stuttgart on 15.-16. September 2012 and on the Amber Festival'12 in Novermber 2012 in Istanbul.
                       
 

Dogma-Mert Akbal from Mert Akbal

 
Up until the present, problems of modernism have been expressed and rehearsed by many and in diverse ways. With his movie „Dogma“, Mert Akbal also contributes to this abundant literature by reflecting a distinctive aesthetic concern. In Dogma, we see the evolvement of the human perspective ushered in by Humanism into a „man of the information age“, or more specifically, an „investigative scientist“. The goddess in the story is trying to connect with the outside world through her LCD screen. She is not in physical contact with the world, as it stands beyond her reach, at a transcendental location of her experience. Meanwhile, she is trying to „download“ some revelations to her personal computer, only as far as her so-called ability allows.
Through categorization and classification, the scientist likewise makes a clear discrimination between himself -the subject- and his scientific research -the object-. Such alienation is the result of human behaviour isolating his cultural self from nature. In a similar vein with how modern mind has created mind-body dualism, it also establishes a contradiction between culture and nature –
but in a distorted manner, as the former overrules the latter. The rational human, the sole determiner of the scientific thought, gives error like a computer in
situations where cause and effect relation becomes uncertain. Here the scientist is surprised by the unexpected results of his experiment in exactly the same way our postmodern goddess gets puzzled by what she sees on her LCD screen.
As a whole, „Dogma“ demonstrates different receptions of the „inexplicable“, illuminating the discrepancy in perception of events. The animation culminates in a surprising end scene where the ancient artist disyokes and frees anything imprisoned, archived and put on a display by the
modern mind.
                       
 

"Tlaloc", 2011, Digital Painting

  "Hollow Earth", 2011, Digital Painting Water, 2009 Acryl on Wood Animals, 25 Paintings in various formats, 2005-2011, oil or acryl on Paper or Wood "Gamers", 2008, Sunken Relief Hornet, 2005, acryl on wood "2013 01. 20. Monkey and Bufallo", digital painted documentation of a dreamscene, 2013
 

„Terror“
Mert Akbal
Animation, PAL, 5min, Germany

„Terror“
Mert Akbal
Animation, PAL, 5min, Germany The animated film "terror" consists of fifteen sequences. I have the individual sequences in the framework of three years, quite independently produced and issued. After a critical consideration, I realized that these sequences can be designed together into a film, as small tales about terror. The resulting film, I have a piece of music background, from the album "terror" Jazz Duo "mop de Kop" originates from Saarbruecken.
At the beginning of the film turns an hourglass, filled with ants, which are continuously running upwards (symbol for the endless working and the hopeless fight against time). Then we see how a bull elephant (the symbol for male sexual violence) eats a piece of flower and runs away. From the flower a bee flies out (symbol for self-sacrifice for the community). We see then a sexual act, which is reduced only to the genital areas. Next, a spider jumps (symbol for the undiscovered forces and dangers of nature) and a man into an artificial water canal. Then we see the following scenes: A water gun, which only works with two hands, a fly-spray, and an Oilpump which produces flying dragons. The dragons are flying and throwing bombs on the city in which the spider weaves a network in order to catch the bee. The bee can get away to meet a mouse (symbol of Technology), The mouse falls victim to an owl(symbol of knowledge). Due to the heavy rain falls a dormouse from the tree. (symbol for climate change). After the sequence with an obsessed man who strews salt and vacuum cleans (symbol of the excessive enthusiasm for the technology and hygiene), comes the book "Nutuk" (the famous history book on the modernization of Turkey), which is opens from right to left and then opens from left to right again and again. (symbol of progress and backwardness). Meanwhile, we see the fly-spray again (symbol of the futility of the war). In the last three sequences, we see a weeping man who drinks his own tears, (the symbol of apolitical stance) the one with his self discontented woman who runs from her own mirror image away (symbol for search of self identification) and a happy dolphin, it floats in a frame (symbol for the response of the mass-media to the search of self identification: the lust ).
             

 

 

     
                             
   
                       
 

 

                       
 

Felis Domesticus Occidentalis from Mert Akbal

 

Felis Domesticus Occidentalis (the western housecat) is questioning, the lack of street cats in western european cities. We watch on 18 scenes an animated cat exposed to various urban locations. The cat interacts with real elements in the city. It survives 8 times the dangers of the street, though 8 times it does not. Two remaining scenes depict how the cat confronts a pigeon.
The istanbulite director criticizes the double moral of animal welfare, which robs the freedom of the animals for their own sake.
The film is produced with rotoscoping technique.
                       
  Heiliger Rock Produziert für die Ausstellung "RELIQUIE - Fetisch in Kirche, Kunst & Konsum" in TUFA Trier. In Kooperation mit Pia Müller.                         
 

 

Inside of a White Cube„
2003, StopMotion, PAL, 3:00

A sculptor is working in his atelier. This gives him a chance to get a clue of that how he freely forms his figures by drilling, cutting, nailing.