Mountain Bike (2003)

Single channel PAL video, no sound, 1’34”

Many of Ergin Cavusoglu’s earlier films such as Impasse, Street Dance and Mountain Bike are shot in liminal and non-spaces of cities – dark streets, doorways, pavements, thresholds to public buildings, abandoned lots - and centre on banal objects: street signs, turnstiles, parked cars.
Simon Harvey, 3rd berlin biennial for contemporary art, catalogue text (2004)

The artist is still intrigued by the liminal spaces of the city that formed the subjects of his earlier single-screen works Impasse, Street Dance and Mountain Bike. Yet his use of multiple large-scale projections now fractures the single-point perspective, so that the installations envelop the viewer. This formal structure serves to heighten a sense of spatial displacement, but also alludes to the cinematic – whereby the projections act as split screens in a narrative from multiple perspectives.
Claire Doherty, Landscapes of Mobilities
Excerpt from Places of Departure, Monograph (Film and Video Umbrella and Haunch of Venison, 2006)