Bedri Baykam’s installed 7 double-sided empty frames hanging from the ceiling in The Proposition Gallery in New York. He said these frames were not empty but rather “framed live time and space”. The artist asserted that “framing live time and space” creates a phenomenal situation—the outer limit, where realism, 3D and conceptual art meet. He believes that this exhibition will forever alter the 100-year long obsessive relationship of generations of artists with the object originated by Duchamp’s Ready-Made…

Here, the master of the situation is the active space as followed by the viewer. The key role given to the object, the ‘ready-made’ has shifted away. It brings together the fictitious rectangle plane of the artwork with conceptual art. Just as the ready-made has taught us to read the objects and look at them differently, these pieces enable us to look at ‘life space’ differently and all the frontiers between life and art blow up. Those Empty Frames, in fact are not empty at all. They are filled with zillion different images as the viewer strolls 360^O in front of them. Nobody sees exactly the same image, which is “live” and changing every second. It is an “image fabricator” at any instant. 

Baykam gifted this show with an evolutionary tangent where art’s direction is headed. He wants people to interact and immerse themselves with his art, be part of the process and get a genuine experience.

The last but not least: Baykam believes that Duchamp would have really been jealous of this idea, in a nice way, while despising all the 8^th or 9^th generation of ready maders, trying to look original while just repating Duchamp’s main idea, by changing the name of the ready-made.