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The aim of this article is to present and study contemporary video practices since the 2000s in Turkey through the representation of time and collective memory. The article features the four video artists who have structured the video art scene in Turkey: Ali Kazma, Halil Altındere, Erkan Özgen and Seza Paker. This research addresses two interconnected issues: firstly, the purpose is to examine how the distinct technical parameters of video production shape a synthesized temporality. This inquiry naturally gives rise to a secondary purpose: in what manner does this constructed temporality facilitate the exploration of memory and historical discourse? The hypothesis is that the video image, both as a technical artifact and a conceptual construct, inherently possesses its unique framework for temporal construction, thereby actively contributing to novel reinterpretations of collective memory and historiography The methodology involves conducting a formal analysis of the video content. This approach focuses on examining the visual elements, composition, use of color, sound, editing techniques, and overall aesthetics of the video to gain deeper insights into its artistic significance and meaning. By employing formal analysis, the aim of this article is to decipher the visual language employed by the video artists and uncover nuanced layers of interpretation.
Merve Kaptan (Tue,) studied this question.