If there is such a thing as a distinction, then it is not between human and animal, but between the system that renders human and animal, and human and animal themselves. Therefore, this is an inverse equation: not the human head, not the human arche, not the human archive, the face instead of the head... As people lose their heads, animals have halos around their heads, they have faces... Saints, animals and caputa mortua in European art... During periods of fascism, since the dead have died with their eyes open, if there is a double responsibility assigned to those who survive, i.e., both closing the eyes of the dead, and keeping the eyes of the living open, then there is, here too, a double responsibility and a warning: by saving people from their heads, and animals from their humanness, the mirror that opens onto a future that has not yet matured yet, a future that delays the difference between them as much as it renders it discernible...

And the artist’s solution, as simple as it is (most) complex: not a monument, not remembering and forgetting, not an archive that rests on arche, which is founded by remembering and forgetting and constantly interprets the past and present with what it documents, not animality and humanity, but the field that opens in the here and now onto that thing that has no name or memory, nor is suitable to memory, that which we can never experience but nevertheless does not abandon us, existence itself, and its plainness. A non-monument inside the monument... Not to represent, to conquer, to erect a monument, or to look through a window, not insolence/facelessness, but the window of existence, half-open: this is the face of existence in Karakaya sculptures, that is all...

Zeynep Sayın




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