Labirent Sanat is pleased to host the exhibition “Deep Oscillations, Silent Echoes” by Arzu Arbak and Aslıhan Kaplan Bayrak between November 1 – December 20, 2025.

In today’s world, woven with speed and image, the body resists in silence. Bodily sensation is the deepest layer of existence—repressed, perhaps, but never erased. Slowness becomes an ethic. As Merleau-Ponty reminds us that “seeing is a form of touching,” contemporary art and philosophy rediscover the slow, deep, multisensory experience of the body. In this sense, “bodily sensation” is no longer a given condition but a political and existential choice. To slow down, to feel, to touch—these are almost forms of resistance today. Yes, bodily sensation has weakened, but it has not disappeared. Beneath speed, image, and screen, it still trembles. And perhaps precisely because of this pressure, remembering sensation becomes the most radical act of our age. What remains is to learn to feel again under the dominion of the eye: to slow down, to breathe again, to look not at an image but at a being. In a world swiftly woven by technology, bodily openness is the last refuge of existence. And perhaps, once again, the human will be born not from the memory of the eye but from the memory of the skin.

“Deep Oscillations, Silent Echoes” advocates for the slowness of sensation against the speed of vision, calling for the return of the body. Bodily existence is not only at the distance of a gaze; it is hidden beneath the skin, in the folds of muscles, breath, and time. The body is not a boundary but an interface through which the world makes itself felt. Every touch, every breath, every glance is the world reaching toward us.

Emptiness is not absence but the potential field of “becoming.” Everything is born of emptiness. Śūnyatā names not lack, but infinite possibility. The works in the exhibition vibrate at this very threshold: between visibility and erasure, sound and silence, light and darkness. Transience pulses through the veins of the exhibition. The works do not seek permanence but exist as fleeting tremors at the edge of the eye, at the threshold of the ear. The more they disappear, the more they are felt; the more they fade, the more they glow. Each vibration, each breath, each slow gaze fills the void—but the void never fully vanishes. It is the ongoing echo of becoming, both an invitation and a resistance. Transience is not merely loss; it forms the very ground of bodily and sensory awareness. Every refraction of light, every trembling of sound, every touch offers a continuity hidden within impermanence.

Sensation is the body’s silent wisdom against the sovereignty of the eye. Time cannot be measured by the line of clocks. Poetic time flows from within, layering and intensifying. This exhibition is a call against the reign of speed and visuality: slow down, remember to feel, rediscover a bodily existence within emptiness and transience. For nothing remains fixed. Everything emerges and recedes in oscillations. Like an echo—first strong, then fading. Yet this very fading reveals the barest truth of existence.

“Deep Oscillations, Silent Echoes” invites the viewer to witness the vibrating structure of the universe, at both microscopic and macroscopic scales. Here, silence is not stillness but the field where universal movement is most intensely felt. The most fundamental discoveries about the universe show it as a fabric of silent vibrations. At the deepest level, everything exists through oscillations: the quantum tremors of atoms, the synaptic waves of the brain, the gravitational ripples of stars. The visible world is nothing but condensed, temporary states of these oscillations.

Drawing on such insights into the universe’s workings, “Deep Oscillations, Silent Echoes” proposes thinking of being less as essence and more as vibration, less as permanence and more as transience, less as isolation and more as entanglement. Each work offers the possibility to experience the vibrational nature behind visible form and its silent echoes. And the shimmer of the everyday… The details we render invisible through habit suddenly become the most intense expressions of being. A ray of light falling on a doorknob, a shadow swaying across a wall, the fleeting preciousness of a moment appearing and vanishing.

Imagine an opening deep in a forest, revealed by light seeping between trees. It arrives at no destination, serves no purpose. It simply is. Silent, open, waiting. This is the clearing—Lichtung—that Heidegger speaks of: a place where things show themselves without concealment, a threshold where being comes to the surface. This emptiness is not opposite the subject that desires objects; it is like the ground itself, where being reveals itself with the subject. As in Zen, it is a field of flow where everything comes and goes, but nothing is held permanently.

Emptiness, in this sense, is not possessed but dwelled in. It is unseen, yet it makes seeing possible. It does not give fullness but grants the condition of fullness’s birth. To understand emptiness is to grant vision the patience to appear. Not to fill. Not to touch. To wait… For only in emptiness does what-is come forth.

For those who wish to look, to listen, to slow down, and to understand, the story is inscribed in the landscape. To read—and perhaps rewrite—that story within the landscape, we invite you between November 1 – December 20 to “Deep Oscillations, Silent Echoes” by Arzu Arbak and Aslıhan Kaplan Bayrak at Labirent Sanat.