Control Rooms - A self-critical introduction to Bager Akbay’s ART practice + (fictitious) essays

The House’s Exterminating Rules The togetherness in this book is hosted by Deniz Yılmaz. This text—the thing between two covers forms a single text, although there are proper nouns here and there—attempts to relate to text objects that existed and that could and would continue to exist. I think this is an effort that stems from the discomfort of feeling lonely at a party. I might have made this observation in error, as I arrived at the party late, but what I see are guests who are avoiding eye contact, people who realized that their outfits are shinier than they thought back home, guests who are pulling on their cuticles. The only place these efforts can lead to includes grumblings as to what the “real” text entails. The nightmare that the dinner featured in Buñuel’s Exterminating Angel had become is not dissimilar to Deniz Yılmaz appearing on the ceiling or under the table the moment things seem to have settled down. As Deniz Yılmaz’s objectification and relations expose our own weaknesses, we are not able to leave the table, nor are we able to accept that Deniz is actually not seated at the dinner table with us. Perhaps this is why the references keep proliferating, they relate to each other to have their own dinner table even. So the main rule of this house is for you to hang your hat on this editor’s note and then go inside. It is a text written based on the principle of starting tomorrow, maybe even today. With the knowledge and understanding that if it were tomorrow already, everything would have been different.