Texts


Decalogue Magazine
Feature, November 2022
“The Truth Behind Reality”
Text by Erika Giulietti
    Born in the middle of the 80’s, Ci Demi is a Turkish photographer and visual story teller from Beyoğlu, Istanbul. Before totally dedicating himself to story telling using photography as his most powerful tool, Ci Demi studied Italian Language and Literature at Istanbul University and worked for advertising agencies as copywriter and creative director.

    The variety of channels the artist experimented through time is clearly detectable when observing his photographic gathering. Indeed, Ci Demi’s photographs — swinging from a great example
of photojournalism to the most aesthetically pleasing colours you’ll ever have the chance to see in your life — feel like a love letter to his hometown city: a place barely looking real if filtered through the artist’s personal vision, where every element seem to be fed with curiosity and good intentions.

    His very personal and identifier color palette is the result of the artist’s studies of Italian 70’s “Giallos” — as declared by Ci Demi himself. Once these kind of details are noticed, one can’t help by being transported by the cultural-mixed visual code owning a strong presence in Ci Demi’s photographs.
    If you think the artist’s visual language is complex enough, here’s an invite to grant a closer inspection to the structure of his pictures: “(...) I take clues from the cinematography of classic horror films” — Ci Demi stated — “even though almost all of my photographs take place in the daytime”. The contrast between the pleasing, pastel color palette and the horror inspiration behind Ci Demi’s photographs is something rarely experimented when it comes to photography, but it helps us understanding the reason why we would not struggle to recognise some similarities between the artist’s photographs and the cinematography of the amazingly visually designed Ari Aster’s “Midsommar”.

    Ci Demi’s photographs are enriched with inventiveness, where different inspirations and elements coming from the artist’s life experience are blended together in order to create his distinctive, intimate own world. DM



Mamut Art Project
Exhibition text, October 2022
Text by Hande Oynar
Translation by Sıla Okur
    Ci Demi, who has worked as a photojournalist and video journalist in the recent past, is an experienced eye in capturing inconspicuous details while coursing through the familiar chaos of the city. The photographs, which are both from the combination of the agility of journalism and the depth of the artist’s emotional world, differ from their counterparts with both color palette and content integrity. Ci Demi’s frames, which bear the signature of a melancholic urban traveler, sometimes point to a lost past, to an irreversible erosion, and sometimes to a loneliness that has a sense of humor despite everything. According to him, the whole of his photographic practice can be seen as an effort to transform the expressions and sense of humor he uses in his daily conversations into visual.
    Unutursan Darılmam (Translation: No Offence If You Forget — Localisation: I Won’t Be Upset If You Forget Me) is a series of photographs that bear the traces of a very difficult period that the artist went through in 2019. Diagnosed with bipolar disorder and taking medication, Ci Demi testifies to a fragile, delicate but at the same time brutally honest relationship with the city. This series, which he focuses on and still continues as he tries to regain his mental health, makes him discover his own colors and perspective with a healing effect. MAP



British Journal of Photography
Tradition & Identity, July/August 2022
Issue 7909
Text by Diane Smyth
    In a video game called GeoGuessr, players are pitched into a random place located via Google Maps and have to work out where they are. The best clues often lie in the street signs, but when Ci Demi started working on his İstanbul-based series Şehir Fikri (Notion of a City) he decided to take them out. Then, inspired by Georges Perec’s novel A Void (1969) — which dispenses with the letter ‘e’ — he went further and removed the people and animals. “I tend to photograph these quiet moments so at first you’re not sure what’s going on, then you look closer and realise something weird is taking place,” he says. “It’s unclear whether you’re in İstanbul or Turkey or wherever, I love creating that tension.”

   It is an intriguing approach from an image-maker who has devoted himself to İstanbul, his hometown. But though Demi is a committed street photographer, who spends at least two hours a day walking and shooting, his images are not about İstanbul as such. Instead they are a portrait of how city makes him feel, a personal psychogeography. “Documenting İstanbul is a secondary function of my photographs,” he says. “For most of my stories I want to set a certain emotion. It’s not really a comfortable life here, or at least that’s how it feels to me. It’s crowded, it’s loud, and it’s ever-expanding.”

   Demi was born in 1986 in the Beyoğlu district, grew up in the Kadıköy neighbourhood, and spent many summers in İzmir, a city further south on the Aegean. All three places are known for being progressive. He studied Italian literature at İstanbul University, and only got into photography at the age of 28, after buying a camera on a whim. His work is informed by his interest in Italy, and in particular his love of giallos — mysteries and thrillers that were first published as pulp fiction and then as popular films in 1960s and 70s. Giallo movies have highly stylised colours and tones, and Demi freely edits his images to evoke them. Şehir Fikri, for example, revolves around blues, oranges and greens, and Demi has turned down the contrast throughout. “My colours are independent of what İstanbul looks like,” he says. “The oranges came together when I was making the book with the editor.”
   Demi describes this book as a ‘photonovella’ and says it will be published soon by Onagöre [page 22], as part of the Turkish publisher’s ongoing series on İstanbul. Demi adds that he is excited about Onagöre’s programme, and by organisations such as Cemre Yeşil Gönenli’s FiLBooks [page 26], a publisher and photobook shop launched by the photographer in the city. But, he says, he often has to look beyond Turkey to make sense of his photography and make a living. Indeed, he has had considerable success internationally, showing his series Will the World End in the Daytime at Les Rencontres d’Arles, and selected as one of the finalists in Encontros da Imagem’s Discovery Awards in 2022 for his series Unutursan Darılmam (I Won’t Be Upset If You Forget Me).

   But Demi’s work remains embedded in İstanbul — and more than that, in his own way of seeing the city. Unutursan Darılmam stems from a major depression he suffered in 2019, for example, when he spent much of his time at home. “The author seeks melancholic moments; serene, dreary, and sometimes chilling — often restless, but also loving,” he writes. “But also, the body of work documents nothing.” BJP