AYLIN VARTANYAN

Aylin Vartanyan

PARRHESİAPAR

Artist photographer Silva Bingaz’s exhibition, Opus 3c, opened on February 17 at Öktem Aykut Art Gallery (İstanbul) . Bingaz’s photography goes beyond the conventional act of “taking a photograph” (capturing an image and taking it away). Through her predominantly black-and-white frames, she translates the divine moment of encounter between images and the gaze into an infinite narrative in the most intimate way possible. Drawing from her new exhibition, we spoke with Bingaz about the processes of documenting the acts of “giving birth; and the efforts to record the act of bringing into existence, the act that remains unrecorded and rather traditionally unknown”

Ernaux's first years of writing coincide with the times when the women in our family could not write. We should also remember the reality that writing was interrupted for Armenian women, and that their priorities were confined to domestic and extra-domestic labor to sustain their families and themselves.

Lang's selection of photographs traces the Armenian heritage in Turkey, including the ruins of churches, houses and monasteries, hybrid structures that emerge from the combination of two incompatible architectural styles of two different eras, and natural environments with an unsettling tranquility. The first question I asked myself, especially when I first saw the photographs of Armenian heritage, was why my knowledge of the stories carried by these ruined architectural structures frozen in time was so limited.

Parrhesia has been and continues to be a place where we, as Armenian women, share intellectual exchanges as well as issues of womanhood, friendship, mourning and melancholy. And we are trying to make this impossible existence possible by multiplying our own words, artistic productions and research. We are also happy that we will reach out to the readers and share our activities in this space that Agos newspaper provided us with every fortnight.