The exhibition consists of three main works. At the center hangs a foosball table designed and built by the artist. This unp- layable, autonomous biomorphic device suggests an internal, hypothetical control mechanism, existing as a dysfunctional system. On the left, four urinals appear, one fitted with a metal structure that clings to the surface like a prosthesis, evoking bathroom rituals and the pressure of all-male proximity. On the right, the wall is covered with iron lockers punctured with various holes; from them hang military T-shirts worn by the artist during his service, pointing to the tension between personal memory and institutional order.
The entire floor is covered with real grass, forming a gently undulating landscape. During his military service, nature be- came a central reference for Kulaksızoğlu. Located within a vast area of forests and mountains, the military facility offe- red moments in which observing nature felt like a form of familiarity and mental escape from an otherwise unfamiliar and restrictive environment. At the same time, nature appears as a contested field shaped, instrumentalized, and redefined by military presence.
