Actually, the Same 1990

Curator: The title of this 1990 installation by Ayse Erkmen is "Actually, the Same." Editor: It certainly strikes a minimalist chord, doesn't it? There’s something very quiet and deliberate in how these simple shapes are presented. Almost like illuminated stepping stones, each subtly different, laid across what appears to be a polished floor. What can you tell me about the installation itself? Curator: The work really engages with site-specificity, and although it's not always apparent in reproduction, the placement of each illuminated form and its subtle variance responds directly to the architectural context. The lights aren’t just lighting; they seem almost to mark a territory or delineate a space, suggesting boundaries but also points of crossing. They remind me a little of the way finding lights might in an ancient place, creating an enigmatic emotional atmosphere through carefully positioned glows. Editor: That feeling of delineating space intrigues me. The work appears quite simple, but there's likely more to it than just scattered light sources. Erkmen is a master of intervening into the fabric of space, altering our perception by calling attention to often overlooked details. I imagine the construction here as an interesting combination of industrial materials for the bases combined with carefully designed lighting. Do we know much about the components, or her process? Curator: Information on materials used by Erkmen in this installation is scarce. The core ideas behind Minimalism and Light and Space— movements the piece hints at — focus heavily on our perceptual understanding of objects as we navigate their material forms in space. There’s also an engagement with ritual that is created here through lighting. Light plays a central role as a means for reflection. Each form feels almost like a ritualistic offering. Editor: Precisely. I'd love to know what kind of energy input these forms needed, how much the materials weighed. Those details are part of the full sensory experience. Ultimately, a piece like this relies on direct engagement; photographs simply don't do it justice. Curator: You’re right. Experiencing this installation first-hand changes everything. The quiet impact really rests in the movement one might experience traveling through the space. Editor: Definitely something to reflect upon after leaving this exhibition.