Istanbul

Neriman Polat, Barikat 1 (Barricade 1), 2015, ink-jet print, 39 3⁄8 × 78 3⁄4". From the series “Barikat” (Barricade), 2015.

Neriman Polat, Barikat 1 (Barricade 1), 2015, ink-jet print, 39 3⁄8 × 78 3⁄4". From the series “Barikat” (Barricade), 2015.

Neriman Polat

DEPO

Neriman Polat’s photographs, videos, and sculptural installations explore the links between self-discipline, self-presentation, and imagemaking. In the 1990s, Polat worked as a teacher, a job that acquainted her with Turkey’s high schools, and, especially early on, children were the locus of these investigations. The photographic diptych Untitled, 1996—the earliest work on view in “Mührü Kırmak” (Breaking the Seal), a recent presentation of the artist’s makeshift videos and photocollages from 1996 to 2019—comprises a pair of ID-style photographs of a red-haired teenager. The two photos are nearly identical, distinguished only by the direction of the teen’s gaze: Anxious and alienated, she looks in a different direction in each picture, as if apprehensively considering her own image in the adjacent frame. Similarly, Durum Duvarı (Situation Wall), 1997, is a large (approximately six and a

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