Bubbles of the Dying: Geography and Displacement, History and Erasure

In this article, I will use the ecological approach to explore the recent videos of Pınar Öğrenci. I will focus on two works: Aşît—The Avalance (2022) and Cemetery of the Nameless (2025). In the latter work, there is a complex examination of the interplay between the precarious paths taken by refugees and the climate change crisis. She also explores the multiple layers of history and memorialization in sites that have been scarred by genocide. In Cemetery of the Nameless (2025), Pınar establishes an analogy between missing bodies and the contamination of the water of Lake Van. However, this connection is not linear and there is no direct cause and effect; Lake Van was meant to be a transit zone for the refugees, not a cemetery. I will argue that the function of analogy is in its suggestion of comparisons, rather than the establishment of equivalence. Öğrenci thereby puts the analogy to work in a dual manner—it both amplifies and concentrates our attention. We listen to the narratives of migration while looking at the scenes caused by climate change. The image broadens the horizon of the narrative, and the voice sucks the gaze into a dark hole. In this manner, Öğrenci’s art of witnessing, which both combines and separates voice and image, amplifies and concentrates the transfer of information. I will also frame this commentary on the artworks with a broader discussion on the politics of care and memorialization.