Baran Caginli (b.1990, Istanbul) is a Helsinki based artist, working with different disciplines. The framework of his practice relates to issues such as systematic repression, extermination, disappearance, amnesia, ethnic discrimination, state power, forced migrations, forced disappearances but in the same time re-appearance, collective memory and the state’s contradictions. Most people and objects he has included in his works are in the position of witness of an incident. Although the witnesses belong to local problems and realities, they also refer to problems and witnesses in other geopolitical contexts.
-How aesthetical became political?
Thinking about the poetical level which becames immanently political, I may refer to the Jacque’s Ranciere”s conceptual innovation of a partage du sensible (variously translated as “partition” or “distribution” of the sensible). “A term that refers at once to the conditions for sharing that establish the contours of a collectivity (i.e. “ partager” as sharing) and to the sources of disruption or dissensus of that same order (i.e. “ partager” as separating). In every respect, a partage du sensible is a liminal term that is at once central to Rancière’s analyses of the aesthetics of politics […]Key to Rancière’s understanding of a parta ge du sensible is the tension between a specific act of perception and its implicit reliance on preconstituted objects deemed worthy of perception. This tension is expressed through the related concept of dissensus, which is at once a dissent from inequality and an insensibility (i.e. an inability to be sensed, noticed or accounted for). (...) The task of political action, therefore, is aesthetic in that it requires a reconfiguration of the conditions of sense perception so that the reigning configuration between perception and meaning is disrupted by those elements, groups or individuals in society that demand not only to exist but indeed to be perceived. A partage du sensible is thus the vulnerable dividing line that creates the perceptual conditions for a political community and its dissensus.(...) “ This dividing line”, which Rancière considers the object of his attention, is none other than the partition that establishes the forms of correspondence and disaggregation between collectivities, as well as between the collages of words and images, and between the assemblages of peoples that he approaches from an aesthetic point of view: with a sensibility to the perceptual preconditions that make subjectivities at once visible, audible and available to our attentions.”
 Panagia, D. (2010). 7. “Partage du sensible”: the distribution of the sensible. In J.-P. Deranty (Ed.), Jacques Rancière: key concepts (pp. 95–97). Durham: Acumen.