How do two people come to terms with each other? What keeps a group coherent? What role does family play in the development of the individual? How strong and trustworthy are the bonds that are formed through shared memories? If our character is brittle, sensitive, and resentful, do our memories protect us? Is it only possible to keep our memories fresh by exclusively relying on objects?
What is the allure of objects that open paths to unknown eras, lands we do not belong to? Which lock and key mechanism, which source of trust makes us chase foreign objects as we do? What memories do we associate with these objects? Or is our mind just a small hinge inside a memory palace? Is it the feeling of joy derived from having contributed to this large and magnificent palace that exists on its own?
Ögel highlights these questions with her exhibition centered around autobiographical inquiries and her interest in the occult, alchemy, and esoteric topics. Her exhibition, The Happy Average, consists of collages, assemblies, installations, photographs, and prints made up from discovered images and objects. It will shed light on the first part of the artist’s struggle with the world and history, and portray this as part of her desire to give meaning to her own past and identity, while also displaying the hidden order behind the fundamental areas of interest that shape her initial output as if they were the index chapters of an encyclopedia. Ögel, whose notebooks play a fundamental role in her output, also attempts to transform a notebook into an exhibition and to use the exhibition area itself as a book. The visitor is invited to experience The Happy Average as similar to reading or leafing through a book whose various chapters with different origins complement each other.