Neochronophobiq is centered around various sculptural elements in different spaces including natural and man-made interiors, reminiscent of isolation chamber-experiments—landscapes of Anatolian Neolithic ruins, ritual sites such as Göbeklitepe, volcanic land formations and stone quarries. These objects are moved by a human figure, who simultaneously collects and observes them, played by actor Tómas Lemarquis.

The main characters of Neochronophobiq—which are of unknown functions, at once archeological, organic, and futuristic—are the forms on the middle screen, linking the exteriors and interiors. The sculptures have undecipherable meanings and embody contradictions between scientific and magical interpretations. They perpetually spin like asteroids in space to be observed from all angles in all possible dimensions. The sites in this work shift possible relationships to geographic/geological time with traces of architecture and unidentifiable topographies and materialities. These places bring the viewer along the way to a non-time and to the idea of a world outside of the mind, language, beyond what may be graspable.
The title of this work is constructed in a similar way to the work itself—Neochronophobiq: is both new and Neolithic; Chronophobia is fear of time, Ubiquity is omnipresence, the state or capacity of being everywhere at the same time. “In Neochronophobiq these objects and landscapes are alive—like extreme metaphors of a petrified language, they have the sound of cracking glass, moving and transforming slowly, a tactile knowledge, objects of ritual, thought-forms, fired and glazed clay pieces which serve for a non-linear narrative in a post-human instance.”


Production Platform 0090, Mathaf: Arab Museum of Modern Art (Qatar Museums) and with the support of SAHA –Supporting Contemporary Art from Turkey. 

Courtesy the artist and Rodeo Gallery.