İstanbul Üniversitesi İletişim Fakültesi Dergisi | Istanbul University Faculty of Communication Journal

Abstract

Today codes are appropriated and controlled through the repetition of forms in communicative institutional spaces for the benefit of the capitalist flux. As contemporary capitalism operates with the problem of capturing innovation as well as difference in creative collaborations, the ‘unrecognized' is attempted to be inserted into the cycles of production and reproduction as well. The main objective of this paper is to search how codes capture, (dis)order and transform knowledge, forms and the unrecognized so that the same things end up coded differently by repeating the existing dynamics. This is also a query about the production of codes. To construct the link between production, repetition and codes, first, we will make a distinction about the notion of repetition by using the concepts of “bare” and “covered” repetition that Deleuze has proposed. This will also create the imperative link to make a distinction between two interlocking production assemblages, which we conceptualize as “bare production” and “covered production”. Control of the crises of codes in communicative institutional spaces will be discussed by focusing on the artworks of Tino Sehgal within The Modern Art Museum of New York, Guggenheim Museum New York and Musée d'Art Moderne de la Ville de Paris.