Academic, artistic and cultural :: Constructive imaginings of the discordant . Making heritage of urban movements . Hajde
The Garden of (not) Forgetting :: Reflection . Nevşünema . Memory of a place, topography of destruction . Many places on the trail of a place . Mehpare's herbarium . Whispers' garden .
Last year's herbarium . Last year's catalogue . The pool . Seeds from the Earth . Remembering exercises . A sequence from a garden; whispers, seeds, traces
Spatial design :: Winter Garden . Visiting Scholars and Guest Artist Offices . Reading Room . Imaginable Guidelines
Plankton Project :: durak Ovacık . gölge Seferihisar
Visual design :: The Garden of (not) Forgetting . Hajde . Aidiyet [production] . Aidiyet [visual]
Study experience :: Sound Topography . Observers' Route . Loafer Cinema . All that is Solid . Summer Homes: Claiming the Coast.
AİDİYET
BELONGING
type production design
role production designer, storyboard artist
team director Burak Çevik, producer Selman Nacar
design assistant Arda Aslan
conceptualized, designed
and realized in 2018
presented at Berlinale Film Festival, Berlin, 2019
New Directors / New Films, New York, 2019
Many other national and international film festivals
As an art director, firstly, I wanted to follow the highlight of the film related to the act of remembering and the role of objects and spaces for memory. Starting from the first storyboards and early production files for grants, I conducted comprehensive work in ongoing collaboration with the film director Burak Çevik.
“When I was designing the film, I was thinking of Eric Rohmer’s films that focus on romantic relationships and of James Benning’s Landscape Suicide that tells a crime story by following places. Belonging is a film that visits the memories of the places and plays with genres. Following a very personal tragedy or true crime archetypes, it is a topographic film devoid of judgment.” Çevik, 2019
The crime story, from the beginning of the 2000s, was revealed in the memory and the narrative of the director. In the first part, the audience hears the crime story in voice-over and the camera follows the empty spaces of this narrative. While the camera doesn't capture any character in this part, spaces become the main character of the movie's first half. The dark and astonishing spaces of crime occur in the closest spaces to the real crime scenes. The colours and lights follow the feelings of the story and underline emotions. The second part, in which the director, Burak Cevik, gives references to Eric Rohmer's scenes, spaces take shape by following the soft and fresh excitement of a love story. The summer lights and cosy colours touch the audience and invite them to the feelings of the first moments of falling in love.
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