FIRST BLOOD is an installation that is comprised of various found postcards. These postcards happen to form Mehmet Dere's contact (communication) with reality, in the sense that they allude to the art institutions, producers, dealers, museum curators, fund directors, collectors, all who feel the desire to go to art exhibitions; in short, to the comprehensive whole that we call the 'art world'. The work is one that reminds us of the coercive frame called the 'market', that determines the conditions of artistic production and presentation for the 'actor', or 'artist', or whatever we might call him or her. This point of view can be seen as reminiscent of that in Louise Lawler's work, the only difference is that this particular point of view arises from 'being together'

In this sense, the rediscovery of realities known to all is set as a reminder. Dere, through a secret alchemical process, makes strikingly visible the morbid view within the artwork using medical postcards. This mock event can be read as the re-presentation of the pulse of someone deceased. What could the representational power of the postcards be, other than the representational power of those who own them, and of the institutions and persons who use them to justify their own power through them

 
 
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