Karina Smigla-Bobinski

In iconology the cone is connected with the ambivalence between the centrifugal
and -pedal dynamic of giving and receiving. Besides the specific association to
fertility, wealth and power, there are others that point to the time continuum.
And in mathematics two cones touching each other at their points symbolise time,
the vectors between past and future meet each other in the present. Similar to an
hourglass the cone might be just one of two cones, loosing and receiving drops
of time.
In the weapon smithery of Tophane-i Amire with its dome, that traditionaly embodies
a sign of firmanent, the form of cone interacts complexly with the enviroment.
It varied the form of dome and generated a reverse movement to it. Opening upwards,
contradicted retrieving effect of the dome, opened the space.
And then, this plastic drop cloth, an essential requisite for renovations, a rescue
tool to cover leaky roofs. The irritating picture of a drop falling through a hole in the
dome roof – ‚Cone‘ is Smigla-Bobinskis metaphor of a country in turbulence between
an orientation towards the Europe and a reinforced religious tendencies, between
the bustle of a corrupt political elite and the fascinating self-empowerment
of the young generation, whose loud protest in the street echoed in the room of
Tophane-i Amire Culture and Art Centre during the exhibition.
A visualisation of Timespace - the past
light cone (at bottom), the present, and
the future light cone