'METAMORPHOSIS CHAT'
The video work Metamorphosis Chat (2010) cites the narrative frame of Turkish soap operas. The actors in Özgür’s films are often acquaintances and relatives. Together they seek images and gestures to visually express the difficulties facing especially women living in a patriarchal society and in a present that is constantly producing new realities and questioning traditional ideas of a successful life.
In Metamorphosis Chat, Özgür’s mother, who wears a traditional headscarf, meets a neighbour, a teacher in modern dress, for tea. The women decide to switch roles and begin to exchange clothes. Özgür’s influence as director recedes as the women, allowing themselves to get carried away by the merriment of dressing up, become their own authors. Their hearty friendliness, their openness in dealing with what might otherwise be embarrassing, their laughing at each other and themselves – all poke fun at the fear and aggressive moralising found in debates on symbols with religious connotations.
In Metamorphosis Chat, Özgür’s mother, who wears a traditional headscarf, meets a neighbour, a teacher in modern dress, for tea. The women decide to switch roles and begin to exchange clothes. Özgür’s influence as director recedes as the women, allowing themselves to get carried away by the merriment of dressing up, become their own authors. Their hearty friendliness, their openness in dealing with what might otherwise be embarrassing, their laughing at each other and themselves – all poke fun at the fear and aggressive moralising found in debates on symbols with religious connotations.
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