Mayıs Rukel

Breaking a mirror initiates five different acts in five different places; exposing shades of magic, politics, and systemic violence. The harm social systems are designed to inflict, the enforced disappearances in Turkey during the 1990s, the border politics of the EU, manipulative storytelling, and power struggles are evoked as the round Pendant attempts to become whole again with its gemstones scattered throughout the acts.

A reflection on the predicament of confinement within the domestic environment, stemming from found correspondence of a woman, dating between 1975 and 1980. Through shared points of reference and the embodiment of the above-mentioned state, the process of this work became an intergenerational dialogue with the stranger character. However, in Arrival, the narrative departs from the archived and imagines rather than a state of paralysis, the discontinuation of a cycle. Upon the character’s decision to leave her home and embark on a journey to an archipelago nearby, the island of her destination sucks her in as she merges into the wind.

After a painful break-up, Amsterdam-based researcher Noa is in mourning. She keeps dreaming about meeting her ex-lover Anna in the dunes by the sea, and about a mysterious glass hammer. When Noa tries to uncover the meaning of this object, she meets Saffron, a fellow lover of literature, poetry and theoretical research.

Southern Bypass is a road south of Nairobi in Kenya that leads into the heart of the city; This single take shot was filmed from 5.49 am to 6 am heading in the direction of the sunrise. The motorbike rider is a boda boda, a motorcycle taxi service. Where they came from and where they are going is incidental to their state of being; they are still and the world around them moves.