On the Question of the Artistic Transmission of Political Death (II)1

Abstract

The Curfews period of December 2015 to February 2016 in south-eastern Turkey was a time of collective violence in multiple forms, among which the Cizre Basement Massacres are the most known. The period of the general elections in June 2015, until the later and most recent attempt to carry out a military coup in July 2016, covers multiple curfews and military operations in the south-eastern regions of Turkey, and some social media material shared from the region caught international attention and provoked artistic as well as political responses. Zehra Doğan, a Kurdish journalist and artist, modified and re-shared some footage that was first posted in social media accounts of the special forces in Nusaybin and as a result was sentenced to three years in prison. She continued to produce artworks in prison, even though it was ‘prohibited’ for her to draw. She started to use her own body fluids, hair, newspaper, toilet paper, and any other available daily material in the prison to produce works of art. She also produced a series of work with her menstrual blood. For this article, I conducted two thematic one-to-one discussions with Zehra Doğan and studied her series of works produced with menstrual blood within the scope of mimesis and embodiment theories. Further sections of the article discuss: the function of these series of works for her acting out and working through processes of the collective political violence of which she became both a witness and a victim; methods of artistic transmission of political violence both for the artist and for the audience; and the possible ritualistic functions of using blood while producing work of arts in relation to collective political killings.