Galeri / Miz presents the group exhibition “Threshold” at Mardin Meyman Sanatevi between May 14 and June 7, 2026, bringing together the works of Ayşe Ebru Eryılmaz, Belmin Pilevneli, Cemil Güç, Doğukan Çiğdem, Gül Ilgaz, Işıl Esen, Metin Kalkızoğlu, Orhan Gazi Keskin, and Tuba Önder Demircioğlu.
The exhibition approaches Mesopotamia not merely as a geography, but as a layered surface where overlapping temporalities, narratives, and regimes of knowledge intersect. The discourse of antiquity, constructed through myths, icons, and artistic traces, is explored not only as an accumulation, but also as a representation that conceals loss, rupture, and intervened historical narratives. It focuses on the density produced between what is symbolically visible and what resists representation.
Ayşe Ebru Eryılmaz proposes a non-linear reading by layering traces belonging to different temporalities and knowledge systems. Ayşe Topçuoğulları investigates latent knowledge that is carried from body to body and unfolds like a pomegranate multiplying when the time comes. Belmin Pilevneli reconstructs myth not as a fixed narrative but as a contemporary form of knowledge. Cemil Güç traces a mode of existence perceivable through the soul, within an imagined plane where the Mesopotamian plain transforms into a mirage like sea. Doğukan Çiğdem addresses the transformation of myths within ideological apparatuses and the rewriting of collective memory. Gül Ilgaz reconsiders the notion of freedom on an intuitive plane as a shared concern across geographies. Işıl Esen explores the permeability between body, myth, and symbol. Metin Kalkızoğlu investigates the threshold between the underground and the surface, and the hidden memory beneath visible history. Tuba Önder Demircioğlu constructs a dynamic bridge that brings concealed knowledge to the surface by connecting the legacy of Mesopotamia with the root-like movements beneath the soil, while Orhan Gazi Keskin transforms the structural relationships between authority, knowledge, and power into form through the patience of marble.
Through the notion of the “threshold,” the exhibition does not seek to fix this surface but rather to conceive it as a transitional space. It frames the interval operating between the visible and the concealed, the remembered and the repressed, the rational and the intuitive, as a ground for thought. Knowledge is treated not as a fixed and unified structure, but as a fragmented, plural, and continuously reconstructed process. Rather than positioning different forms of knowledge in opposition, the exhibition renders visible their modes of overlap, seepage, and entanglement.
