Carpe Noctem, presents Aslı Narin's recent photographic series along with a series of found photographs and issues a call for making the best of the night. In the exhibition, we encounter the artist not only as a protagonist of her photographs through her nightly walks on the streets, but also as an explorer who wants to discover the potential of the night to comprehend life, the light within the darkness, and a different kind of existence that is not possible in daylight. She explores the boundaries of aesthetic experience by creating links between the darkness of the night, visual experiences and photographic images through the idea of a threshold.

In classical Greek narratives, personified by the Goddess Nyx, the Night symbolizes a threshold between the primordial night and the worldly night. The terrestrial night belongs to a concrete and perceptible world, while the primordial night symbolizes what is beyond that world. Overpassing the threshold of the night is to overpass the limits of terrestrial experiences that can be perceived by the senses. Narin's efforts to comprehend some truth about life through the images captured at the threshold of seeing aims for a kind of renewal when she gets out to daylight again at the end of the night. Carpe Noctem keeps a record of what happens after jumping over the threshold and presents the audience this transformation process with an aesthetic at the boundaries of seeing.

Carpe Noctem presents a journey starting with the overpassing of the threshold of the night, going through dark streets of the city and extending over to vast empty fields with no settlement. Even though some of the places in the photographs look familiar to us, with her photographic technique the artist has made them look stranger than they actually are and interchangeable. That is to say, streets of different cities get mixed up. By causing instant associations, they evoke the viewer's own experiences in dark streets, making time and place in the photographs ambiguous, boundless, and belonging to all.

With her photographs, many which are taken on the streets, Narin pursues an idea that knowledge can only be obtained through aesthetic experience by forging a bond with the world through the obscurity of the night. Yet, this experience is not limited to the final image that will emerge as a result of the act of photographing. The artist attempts to experience a potentiality of existence that has not been noticed until then or a way of being that is beyond the limits of reason, which will emerge through the very act of walking in the streets in the ambiguous fluidity of the night.

Rana Öztürk