In this exhibition titled Turnings of Late, artists Tanya V. Abelson, Leman Sevda Darıcıoğlu, and Julija Zaharijević take us on a crossing from the crib to the grave. At times mechanical and at others biological, the show is layered with hairpin turns, bottlenecks, and dead ends.

We encounter head-on the sleekness of Julija Zaharijević’s landmine paintings, their plastic shells rendered ornamental through stark enlargement. As is the case with these models of Yugoslav and Italian design, the fuze goes off when the pressure plate is passed over by a careless step from above. Once planted, we fear they might suddenly morph into a new structure, resembling a virus entwined with its host.

Then, in front of us, a bed beneath the windowsills lays out a field for recharging energy. Silver tendrils stake outward from the slats, peeking thornily into the room. To the side, an oversized pacifier sits on the ground. Tanya Abelson’s works confront us with relics of dependency. They seem to instruct us that an unhealthy resting position that deviates from lying flat should never become a habit.

In their performance Scales, continued on-site for 48 hours, Leman Sevda Darıcıoğlu moves further into a cycle of life that is conditioned and produced through forms, fees, and approvals. We are reminded that after falling, one must pick oneself up again, over and over. What remains here, finally, in the artist’s Light Body (of work), is a suspended pile of documents dangling from a metal crane. They detail each intervention, more or less necessary evils, tracing a slow process of dissolution.