Dialogfeld 4

Adela is a self-denying space hacker
space hacker whose work interfaces with architecture, scenography and concrete poetry in urban
poetry in urban topography, although it is none of these things.
Increasingly, through her activity or her
intrepid contemplation, she seeks to make space for neurodiversity by inventing different stories for public space.

She creates confusion with constructive and destructive interventions in Bucharest and Berlin where she lives and works, stealing plants and bringing them back into the public space.

“Do you believe in night buses” examines the role of fiction in the process of creating alternative worlds, systems and ways of life. Dealing with the question of how common interests and convictions bring people together and connect them requires a deliberately uncynical concept of art that creates an interweaving and reshaping of the world through fictional points. The imaginary night bus station is a challenge to understand public space as a place of abstraction and to see beyond the practicalities of everyday life.

Born in Istanbul in 1983, Gökçen Dilek Acay studied at Istanbul Technical University (2009) and in the MFA programme at Bauhaus University Weimar.

She performed at the Watermill Centre Benefit 2013, curated by Robert Wilson and as a guest artist at the Cite International des Arts Paris with the support of the IKSV. She received the 3rd Honourable Mention in the ‘New Generation Young Contemporary Artists’ competition and was selected for the 17th International Biennale of Young Artists from Europe and the Mediterranean in Milan 2015.

In her work, she discusses the concept of oppression of power and destructive parts of man. She uses various animal motifs and symbols to show the contrast and exchange between the brutal human and the human animal.
This power is a reflection of a modern society and political structure of the brutal and instinctive human being. Modern man consists of contradictions. In her work, Dilek Acay tries to work out this brutality and violence against less favoured beings and also against the objectified and abused female body.

The work comprises a video animation and a spatial installation. In the video, different metaphorical elements are summarised on one level. The repetitive movements do not create a future ideal image, but process information from history and today's perception of politics, society and social issues between Germany, Europe and the world. The spatial installation imagines a city abandoned at night through the use and creation of deformed objects. The empty buildings, the objects left behind and GDR furniture served as inspiration.