As in everything else, we are experiencing a new dimension in our relationship with reading and writing. Readings during the lockdown, new discoveries, new interests…
Difficulty and obligation of writing. The effect of reading on it. The ability to think and make it concrete.

Glob Era is an extension of such a process. Ekmel Ertan and Ezgi Yakın are among the rare witnesses of our Factory Settings exhibition, while Murat Alat has been a distant follower of this process from the beginning.
In this section, there are inspirational and stimulating comments that each brought to our work from a different point of view.


  • Ekmel Ertan - What Does Art Do to a City?

    "… Glob Era does so too, with Factory Settings, it opens the memory of the city dwellers to ‘temporary collective experiences’ in the time and space of the city. The project coordinators, on the one hand, challenge our memory of the past that ‘carries us to today’, and on the other hand, they raise questions about the future ‘we want to reach’. 'Now' is the result of the past, the cause of the future; not a moment of accident.”
  • Murat Alat - Fluid Dreams

    "For a long time, no one has said to the stone or steel, ‘What form do you want to take?’ Neither the people are asked what kind of house they want to live in, nor the wind, nor the water are consulted while the buildings are built. In the non-existing space of computer programs, virtual materials are bent and twisted, structures are built to obey the will of the power. As well as everything is manufactured the space is manufactured too, but production is made only for the sake of the survival of the production…”
  • Ezgi Yakın - A Travel Essay: Questions and Silent Guests

    “…Young generation artists who work in dialogue with the space, apart from being isolated from it, bring out their interventions in accordance with this physical landscape with representations and associations compatible with Sümerbank. While doing so, they include anything around that may be material in their work. The work that emerged in collaboration with what was left of the wreckage appears softly with a rapprochement almost equal to sadness, rather than revealing itself out loud… ”