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Photography Serie 
2002- 2005
Golden Horn, 2004, 27.5'' x 41'
Cage, 2003, 41' x 27.5''
Tile Factory, 2002, 27.5'' x 41'
Douche, 2003, 41'' x 27.5''
Stairs, 2003, 27.5''x 41''
The Cross, 2004, 27.5'' x 41''
The Mole, 2003, 27.5'' x 41''
Flovour Factory, 2002, 27.5'' x 41''
Footprint, 2002, 27.5'' x 41''
3 Holes, 2005, 27.5'' x 41''
The title is a reference to the term’s archaeological meaning of “a finding in its original place”. So, the photos present the relicts of modern society, where empty parks and beaches, as well as demolished factories and architectural buildings function as desolated stages, on which apocalyptic perspectives on our brave new world are presented. Often, the images resemble film stills, as they remind the spectator on movies of post-apocalyptic science fiction films or road movies. Due to Kızıltunç’s cinematographic notion of aesthetic, in his photos, it is like Wim Wenders meets Mad Max in a world that is drowning in the garbage of its modern utopia. For the artist, “ruins are the visible symbols and landmarks of our civilisation and its changes. As being the small pieces of history remains suspended in time, the state of ruins is essentially a temporary situation of the result of changes of era. This state of fragility, given by the fast running time elapsed, lead us to watch them one very last time being dismayed but also admire, makes us wondering about the permanence of things in time” (V.K.)
The absence of any human figure gives the spectator the chance to put himself into the images in order to create his own stories, and play an active part in the reception process. Although their content is highly critical, Kızıltunç is neither polemic nor didactic. The clearness of his photographic approach leads him to present the world like he finds it. Nothing is arranged. Like a surgeon, the artist cuts up reality, and reveals the blank, forgotten spots within our cities and landscapes. A cynical and critical, yet sometimes absurd anachronism occurs, which is underlined by the monochrome sepia tone of the pieces that makes them look older than they actually are. At the same time, due to the use of this aesthetic in today’s digital photography and Instagram-culture, Kızıltunç’s photos gain another meaning and dimension. Used in digital pop-culture as references to classic photography and film, his works deconstruct now the language of our visual culture. By gaining an additional ironical character, their critical dimension gets even more strengthened. In the end Insitu shows us the end of the world as we know it, and reveals the silent poetry and beauty in the ruins of our civilisation.
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