Water and fluidity in İz Öztat’s heterochronic imaginaries in the aftermath of genocide

Abstract

Between the years 2013–2016, the artist İz Öztat created four distinct bodies of work, all of which engaged aspects of water. This period was marked in Turkey by the heightened tensions around the neoliberal (re)distribution of public space and public resources, which escalated in the aftermath of the Gezi Park Protests of 2013. In this article, the author argues that, beyond its immediate critique of contemporary capitalist appropriation, Öztat’s engagement with water builds relations across time, space, and species to recall histories of the Armenian Genocide, challenging the denials of official historiography. By tapping into the linguistic, cultural, and material imaginaries of water, and learning from the present-day water protection movements, Öztat engages the diverse histories carried across waterways. Water becomes a nexus through which the artist locates and articulates the physical and epistemic violence of modernity, particularly as it indexes community, conscience, and ecology from the late 19th century to the present.