The Kishla (from Turkish: kışla, winter shelter) is a superimposition, on the same piece of land, of a two-thousand-years-old palace, an Ottoman prison, a military barracks and a police station. Within this controversial space, identified so much with the authorities that (in historical terms) are changing schizophrenically around here, WACKELKONTAKT test the disciplinary character of the senses on the human consciousness and enable an audio-visual experience which is generated from within the spectators themselves and the physical and mental luggage with which they arrive.

SEEGUIN SAYA is a light and sound installation and a time-based composition, which continues WACKELKONTAKT’s research on the power structures between artist, space and audience and between each spectator and their own self. The work draws from the tradition of Ganzfeld Experiments (from German: whole field) with the Excessive approach, that attempts to push the sensory information to its limit and simultaneously conceal it in order for the supersensual information to sneak in and take control, like an art collective in an institutional space, of the disciplined consciousness.