Hobbs, James (2024) "H(xy)/V(z)=Ø" at Critical Shifts Exhibition, Barin Han, Istanbul, Turkey. [Show/Exhibition]

	PDF (Installation documentation) 51728 HOBBS_H(xy)V(z)_At_Critical_Shifts_(Supplemental)_2024.pdf - Supplemental Material Restricted to Repository staff only Download (3MB) | Request a copy
	PDF (Text) 51728 HOBBS_H(xy)V(z)_At_Critical_Shifts_(Other)_2024.pdf - Other Restricted to Repository staff only Download (43kB) | Request a copy
	Video (MP4) (Video) 51728 HOBBS_H(xy)V(z)_At_Critical_Shifts_(Video)_2024.mp4 - Other Restricted to Repository staff only Download (28MB) | Request a copy
	PDF (Exhibition list) 51728 HOBBS_H(xy)V(z)_At_Critical_Shifts_(Other1)_2024.pdf - Other Restricted to Repository staff only Download (212kB) | Request a copy

Abstract

For this exhibition, Jim Hobbs created an immersive installation of his work H(xy)/V(z)=Ø, written a critical text for the publication and delivered an artist talk with fellow exhibitor Kerem Ozan Bayraktar. The exhibition was curated by Maria Korolkova, Margarita Osepyan, Kate Umnova.

Exhibition Abstract: Everything shifts, everything is being shifted. Alongside larger geosocial and geopolitical migration of peoples and matter come daily shifts that remain unnoticed, yet often become agents of critical transformations, openness and new beginnings. By following these smaller movements of matter, form and meaning, the exhibition showcases works of contemporary artists who embrace such shifts — whether through a material, metaphorical or invisible form — as a method of their diverse practices and consider them integral to any knowledge production. Fish are being caught in Spanish waters; women move silently through a deserted landscape in Uzbekistan; a word from a nineteenth century poem is inserted into a Google Ad and becomes a commodity; a water fountain outside a mosque in Istanbul turns into a drinking point for pigeons… To shift is to remove something from the usual or proper place, and Critical Shifts are interested in the ways this simple action functions in the contemporary paradigm where there is no proper place and no usual. The prefixes de-, dis,- un–, re-, ex- become too familiar in the vocabulary of our common condition, as well as the processes they denote — replacing, mistaking, displacing, extracting, dissolving, dislocating. The artists in Critical Shifts try to look at these actions not as disturbing or destabilising, but as a productive, positive, and generative force. These shifts are necessary for creating space and possibilities for re-making, re-assembling, re-building and re-emerging into new shapes — first unstable but gradually solid and powerful. Shifting is then considered a condition of being — and by extension — of becoming. It is essential to recognise such modalities which go beyond the fractures and dislocations into the possibilities of the new — when the shifted and the displaced is celebrated and acknowledged as the (only) new constant.

Item Type:	Show/Exhibition
Uncontrolled Keywords:	critical shifts, experimental cinema, displacement
Subjects:	N Fine Arts > N Visual arts (General) For photography, see TR N Fine Arts > NE Print media
Faculty / School / Research Centre / Research Group:	Faculty of Law, Arts and Social Sciences Faculty of Law, Arts and Social Sciences > Centre for Sound and Image Faculty of Law, Arts and Social Sciences > School of Design and Creative Industries
Related URLs:	Organisation
Last Modified:	25 Nov 2025 11:11
URI:	https://gala.gre.ac.uk/id/eprint/51728

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