Vik Muniz: Art with wire, sugar, chocolate and string

Vik Muniz teller ve sekerle sanat icra ediyor.

Çeviri: Seyhan SIRTALAN Gözden geçirme: Sancak Gülgen

I was asked to come here and speak about creation.

Buraya gelip yaratmakla ilgili konusmam istendi.

And I only have 15 minutes, and I see they're counting already.

Ve sadece 15 dakikam var ve goruyorum ki sureyi baslattilar bile.

And I can -- in 15 minutes, I think I can touch only a very rather janitorial branch of creation,

Ve sanirim 15 dakikada sadece yaratmanin bir kolu olan

which I call "creativity."

ve benim yaraticilik dedigim konuya deginebilirim.

Creativity is how we cope with creation.

Yaraticilik yaratmakla bir basa cikis seklidir.

While creation sometimes seems a bit un-graspable, or even pointless,

Yaratmak bazen kavramasi guc ya da anlamsiz olsa da

creativity is always meaningful.

yaraticilik her zaman anlamlidir.

See, for instance, in this picture.

Mesela bu resme bakin.

You know, creation is what put that dog in that picture,

Kopegi bu resime yerlestiren yaratmaktir,

and creativity is what makes us see a chicken on his hindquarters.

kopegin arka bacaginda bir tavuk gormemizi saglayan yaraticiliktir.

When you think about -- you know, creativity has a lot to do with causality too.

Dusunecek olursaniz--aslinda, yaraticilik ve nedensellik birbiriyle baglantilidir.

You know, when I was a teenager, I was a creator.

Bakin, delikanliyken birseyler yaratirdim.

I just did things.

Oylesine birseyler yaratirdim.

Then I became an adult and started knowing who I was,

Sonra yetiskin oldum ve kendi benligimi tanimaya basladim

and tried to maintain that persona -- I became creative.

ve o kisiligi korumaya calistim -- ve yaratici oldum.

It wasn't until I actually did a book and a retrospective exhibition, that I could track exactly --

Bir kitap yazip, geriye donuk sergimi acana kadar degil--geriye bakinca--

looks like all the craziest things that I had done, all my drinking, all my parties --

Yaptigim butun cilginliklar, icki icmem, partiler ---

they followed a straight line that brings me to the point

hepsi duz bir cizgi halinde beni bu noktaya

that actually I'm talking to you at this moment.

burada karsinizda konustugum su ana getiren seyler.

Though it's actually true, you know,

Aslinda bu dogru, su anda

the reason I'm talking to you right now is because I was born in Brazil.

sizlerle konusuyor olmam Brezilya'da dogmus olmamdandir.

If I was born in Monterey, probably would be in Brazil.

Eger Monterey'de dogsaydim belki simdi Brezilya'da olurdum.

You know, I was born in Brazil and grew up in the '70s

Iste boyle, Brezilya'da dogdum ve 70'lerde politik

under a climate of political distress,

acidan sikintili bir ortamda buyudum ve

and I was forced to learn to communicate in a very specific way --

bir tur semiyotik karaborsada

in a sort of a semiotic black market.

cok ozel bir sekilde iletisim kurmayi ogrendim.

You couldn't really say what you wanted to say;

Gercekte soylemek istediginizi telaffuz edemediginiz icin

you had to invent ways of doing it.

farkli yontemler bulmaniz gerekiyordu.

You didn't trust information very much.

Etrafinizdaki bilgiye fazla guvenemiyordunuz.

That led me to another step of why I'm here today,

Bu da benim burada olmamda etkili bir baska nokta,

is because I really liked media of all kinds.

medyanin her turunu gercekten seviyor olmam.

I was a media junkie, and eventually got involved with advertising.

Bir medya cilginiydim ve zamanla reklamciliga girdim.

My first job in Brazil

Brezilya'daki ilk isim

was actually to develop a way to improve the readability of billboards,

billboard'larin okunabilirligini artirmanin yollarini bulmakti,

and based on speed, angle of approach and actually blocks of text.

bunu hiz, aci ve yazinin seklini goz onune alarak yapmak.

It was very -- actually, it was a very good study,

Bu aslinda gercekten cok onemli bir konuydu,

and got me a job in an ad agency.

ve bir reklam ajansinda is bulmama yaradi.

And they also decided that I had to --

Ve bu is icin bana cok cirkin

to give me a very ugly Plexiglas trophy for it.

pleksiglastan yapilmis bir odul vermeye karar verdiler.

And another point -- why I'm here --

Burada olma sebeplerimden bir baska nokta da

is that the day I went to pick up the Plexiglas trophy,

iste bu; odulu almaya gittigim gun,

I rented a tuxedo for the first time in my life,

omrumde ilk defa bir smokin kiraladim,

picked the thing -- didn't have any friends.

odulu aldim -- hic bir arkadasim yoktu.

On my way out, I had to break a fight apart.

Cikista bir kavgayi ayirmak zorunda kaldim.

Somebody was hitting somebody else with brass knuckles.

Birisi baska birisini mustayla dovuyordu

They were in tuxedos, and fighting. It was very ugly.

Onlar da smokinliydi ve dovusuyorlardi. Cok cirkindi.

And also -- advertising people do that all the time -- (Laughter) --

Bu arada, reklamcilar bunu hep yaparlar --(gulusmeler) --

and I -- well, what happened is when I went back, it was on the way back to my car,

ve -- sonra ben uzaklasip arabama giderken soyle oldu;

the guy who got hit decided to grab a gun --

dayak yiyen adam tabanca cekmeye karar verdi --

I don't know why he had a gun --

niye tabanca tasiyordu bilmiyorum --

and shoot the first person he decided to be his aggressor.

ve dusmani olduguna karar verdigi ilk kisiye ates etti.

The first person was wearing a black tie, a tuxedo. It was me.

Bu ilk kisi smokinli ve siyah kravatliydi. Bu kisi bendim.

Luckily, it wasn't fatal, as you can all see.

Cok sukur, oldurucu degildi, sizin de gordugunuz gibi.

And, even more luckily, the guy said that he was sorry

Ve sansima, adam ozur diledi

and I bribed him for compensation money, otherwise I press charges.

ve ben adamdan dava acma tehdidiyle tazminat parasi aldim.

And that's how -- with this money I paid for a ticket to come to the United States in 1983,

Iste bu sekilde -- bu parayla 1983 senesinde Amerika'ya gelmek icin biletimi aldim,

and that's very -- the basic reason I'm talking to you here today:

ve burada sizlerin karsisinda konusuyor olmamin ana nedeni bu.

because I got shot. (Laughter) (Applause)

Cunku vurulmustum. (Gulusmeler) (Alkis)

Well, when I started working with my own work, I decided that I shouldn't do images.

Kendi calismalarima basladigimda imgeler uzerinde calismamaya karar verdim.

You know, I became -- I took this very iconoclastic approach.

Geleneksel olmayan bir yaklasim benimsemistim.

Because when I decided to go into advertising, I wanted to do --

Cunku reklamciliga girerken istedigim --

I wanted to airbrush naked people on ice, for whiskey commercials,

viski reklamlari icin buz uzerinde ciplak insanlari boyamakti,

that's what I really wanted to do. (Laughter)

gercekte yapmak istedigim buydu.

But I -- they didn't let me do it, so I just -- you know,

Ama -- bunu yapmama izin vermediler -- iste,

they would only let me do other things.

baska seyler yapmama izin verdiler.

But I wasn't into selling whiskey; I was into selling ice.

Ama viski satmak bana gore degildi, ben buz satmak istiyordum.

The first works were actually objects.

Ilk calismalar aslinda objelerdi.

It was kind of a mixture of found object, product design and advertising.

Buluntu objeler, dizayn ve reklamciligin bir tur karisimiydi.

And I called them relics.

Ve ben bunlari kalintilar diye adlandirdim.

They were displayed first at Stux Gallery in 1983.

Ilk olarak 1983'te Galeri Stux'ta sergilendiler.

This is the clown skull.

Bu palyaco kafatasi.

Is a remnant of a race of -- a very evolved race of entertainers.

Cok gelismis eglendirici irka ait bir kalinti.

They lived in Brazil, long time ago. (Laughter)

Uzun yillar once Brezilya'da yasamislar. (Gulusmeler)

This is the Ashanti joystick.

Bu bir Ashanti oyuncubugu.

Unfortunately, it has become obsolete because it was designed for Atari platform.

Maalesef kullanimdan kalkti cunku Atariler icin tasarlanmisti.

A Playstation II is in the works, maybe for the next TED I'll bring it.

Playstation II uzerine calisiyorum, belki bir sonraki TED'e getiririm.

The rocking podium. (Laughter)

Sallanan podyum.

This is the pre-Columbian coffeemaker. (Laughter)

Kolombiya oncesi kahve makinesi.

Actually, the idea came out of an argument that I had at Starbucks,

Aslinda, bu fikir Starbuck's'ta bir tartisma sirasinda dogdu,

that I insisted that I wasn't having Colombian coffee;

ictigimin Kolombiya kahvesi olmadiginda israr ediyordum,

the coffee was actually pre-Columbian.

aslinda Kolombiya oncesi bir kahveydi.

The Bonsai table.

Bonsai masasi.

The entire Encyclopedia Britannica bound in a single volume, for travel purposes.

Seyahat icin bir cilde indirilmis Britanika Ansiklopedisi serisi.

And the half tombstone, for people who are not dead yet.

Henuz olmemis insanlar icin yarim mezar tasi.

I wanted to take that into the realm of images,

Imajlar dunyasina girip kimlik catismasi icinde

and I decided to make things that had the same identity conflicts.

olan konularda uretmek istedim.

So I decided to do work with clouds.

Bulutlar uzerinde calismaya karar verdim.

Because clouds can mean anything you want.

Cunku bulutlar istedigin her anlama gelebilirler.

But now I wanted to work in a very low-tech way,

Ama bu sefer dusuk teknoloji ile calismaya karar verdim,

so something that would mean at the same time

burada bir sey ayni anda bir pamuk yigini

a lump of cotton, a cloud and Durer's praying hands --

bir bulut veya Durer'in dua eden elleri olabilir --

although this looks a lot more like Mickey Mouse's praying hands.

ama bu daha cok Mickey Mouse'un dua eden ellerine benziyor.

But I was still, you know -- this is a kitty cloud.

Ama bence -- bu bir kedicik bulut.

They're called "Equivalents," after Alfred Stieglitz's work.

Bunlara Alfred Stieglitz'in calismalarindan esinlenerek Equivalent dedim.

"The Snail."

"Salyangoz".

But I was still working with sculpture,

Ama hala heykeller uzerine calisiyordum,

and I was really trying to go flatter and flatter.

ve giderek daha basik boyutlu calismalar yapiyordum.

"The Teapot."

"Caydanlik."

I had a chance to go to Florence, in -- I think it was '94,

Sanirim 1994 senesiydi -- Florensa'ya gitme imkani buldum,

and I saw Ghiberti's "Door of Paradise."

ve Ghiberti'nin "Cennet Kapisi"ni gordum.

And he did something that was very tricky.

Cok ustalik gerektiren bir sey yapmisti.

He put together two different media from different periods of time.

Iki ayri doneme ait iki farkli medyayi bir arada kullanmisti.

First, he got an age-old way of making it, which was relief,

Birincisi, eski yontem kullanmisti ki bu rahatlaticiydi,

and he worked this with three-point perspective, which was brand-new technology at the time.

ve uc-boyutlu perspektif calismisti ki bu da o zaman icin yepyeni bir teknolojiydi.

And it's totally overkill.

Tamamen asiriya kacmaydi.

And your eye doesn't know which level to read.

Gozleriniz hangi duzleme bakacagini bilemiyordu.

And you become trapped into this kind of representation.

Ve bu tur bir sunumum icinde hapsoluyordunuz.

So I decided to make these very simple renderings,

Bunun uzerine ilk bakista basit cizgiler olarak gorulen

that at first they are taken as a line drawing --

su cok basit parcalari yaptim.

you know, something that's very -- and then I did it with wire.

Yani son derece --sonra bunlari tellerle yaptim.

The idea was to -- because everybody overlooks white -- like pencil drawings, you know?

Fikir suydu -- kara kalem cizimlerinde kimse ilk bakista beyazi dikkate almaz.

And they would look at it -- "Ah, it's a pencil drawing."

Yani soyle bir bakarlar -- iste kara kalem bir cizim.

Then you have this double take and see that it's actually something that existed in time.

Sonra daha dikkatli bakinca zaman icinde var olan bir sey farkedilir.

It had a physicality,

Boyle fiziksel yani olan birsey,

and you start going deeper and deeper into sort of narrative

ve sonra daha derine inince imgeye

that goes this way, towards the image. So this is "Monkey with Leica."

yonelik bir oyku ortaya cikiyor. Iste bu "Leica ve Maymun".

"Relaxation."

"Gevseme"

"Fiat Lux."

"Fiat Lux."

And the same way the history of representation

Temsil etme surecinde cizgileri

evolved from line drawings to shaded drawings.

taramali cizimler izledi.

And I wanted to deal with other subjects.

Ve baska tur konularda calismak istedim.

I started taking that into the realm of landscape,

Manzaralar dunyasina yoneldim ki

which is something that's almost a picture of nothing.

bu neredeyse hicligin resmi gibi birseydi.

I made these pictures called "Pictures of Thread,"

Ipliklerin Resmi dedigim bu resimleri yaptim,

and I named them after the amount of yards that I used to represent each picture.

ve bunlara isim olarak yapiminda kullandigim ip miktarini verdim.

These always end up being a photograph at the end,

Bunlar her zaman bir fotograf olarak sonlanan calismalardi

or more like an etching in this case.

ya da burada oldugu gibi bir gravur.

So this is a lighthouse.

Bu bir fener.

This is "6,500 Yards," after Corot. "9,000 Yards," after Gerhard Richter.

Bu Corot'dan esinlenen "6.500 Yarda". "9.000 Yarda" Gerhard Richter'den.

And I don't know how many yards, after John Constable.

Ne kadar yarda oldugunu bilmiyorum John Constable'dan.

Departing from the lines, I decided to tackle the idea of points,

Bu cizgiden ayrilarak, noktalar fikrine yoneldim,

like which is more similar to the type of representation that we find in photographs themselves.

bu fotografciligi temsil eden fikre benzeyen bir kavramdi.

I had met a group of children in the Caribbean island of Saint Kitts,

Karayipler'de Saint Kitts adasinda bir grup cocukla karsilastim

and I did work and play with them.

ve onlarla hem oynadim hem calistim.

I got some photographs from them.

Cocuklarin fotograflarini cektim.

Upon my arrival in New York, I decided --

New York'a donunce, karar verdim --

they were children of sugar plantation workers.

bunlar seker iscilerinin cocuklariydi.

And by manipulating sugar over a black paper, I made portraits of them.

Siyah kagit uzerine toz sekerle bu cocuklari portrelerini yaptim.

These are -- (Applause) --

Bunlar -- (Alkis) --

Thank you. This is "Valentina, the Fastest."

Tesekkurler. Bu "Valentina, En Hizli".

It was just the name of the child,

Cocugun adi ve az tanidigin birine

with the little thing you get to know of somebody that you meet very briefly.

ait kucuk bir ifade.

"Valicia."

"Valicia".

"Jacynthe."

"Jacynthe".

But another layer of representation was still introduced.

Burada baska bir temsil katmani ortaya cikti.

Because I was doing this while I was making these pictures,

Bu resimleri yaparken

I realized that I could add still another thing

dusundum ki baska bir sey daha ekleyebilirim.

I was trying to make a subject --

Bir konuda temalari

something that would interfere with the themes,

etkileyecegini dusundugum

so chocolate is very good, because it has --

cikolatayi cok uygun gordum cunku

it brings to mind ideas that go from scatology to romance.

akla diskidan romantizme farkli seyler getiriyordu.

And so I decided to make these pictures,

Ve bu resimleri yapmaya karar verdim,

and they were very large, so you had to walk away from it to be able to see them.

cok buyuk olduklari icin gorebilmek icin resimden uzakta durmak gerekliydi.

So they're called "Pictures of Chocolate."

Iste bunlarda Cikolata Resimleri.

Freud probably could explain chocolate better than I. He was the first subject.

Freud belki cikolatayi benden daha iyi anlatirdi. Ilk konu oydu.

And Jackson Pollock also.

Ve Jackson Pollock.

Pictures of crowds are particularly interesting,

Kalabalik resimleri ozellikle cok ilginc

because, you know, you go to that --

cunku cok kolay betimleyebileceginiz bir

you try to figure out the threshold with something you can define very easily,

kademeyi tesbit etmeye calisiyorsunuz,

like a face, goes into becoming just a texture.

mesela bir surat sadece bir doku haline geliyor.

"Paparazzi."

"Paparazi".

I used the dust at the Whitney Museum to render some pieces of their collection.

Whitney Muzesindeki tozlari kullanarak koleksiyonlarindan bazi parcalar yaptim.

And I picked minimalist pieces because they're about specificity.

Minimalist parcalar sectim cunku ozgullugu vurguluyordum.

And you render this with the most non-specific material,

Ve bunu en ozgul olmayan malzemeyle yaptim,

which is dust itself.

o da toz.

Like, you know, you have the skin particles of every single museum visitor.

Bildiginiz gibi muzeyi ziyaret edenlerin olu derileri.

They do a DNA scan of this, they will come up with a great mailing list.

Bu esere bir DNA testi yapilsa mukemmel bir posta adres listesi olusur.

This is Richard Serra.

Bu Richard Serra.

I bought a computer, and [they] told me it had millions of colors in it.

Bir bilgisayar satin aldim, bana dediler ki icinde milyonlarca renk var.

You know an artist's first response to this is, who counted it? You know?

Bir sanatcinin buna ilk tepkisi sudur; kim saydi? Anladiniz mi?

And I realized that I never worked with color,

Ve farkettim ki renklerle hic calismadim,

because I had a hard time controlling the idea of single colors.

cunku tek bir renk fikrini kontrol etmekte zorlaniyordum.

But once they're applied to numeric structure,

Ama buna numaralandirilmis bir yapi verirseniz

then you can feel more comfortable.

o zaman daha rahat olursunuz.

So the first time I worked with colors was by making these mosaics of Pantone swatches.

Renklerle ilk calismamda Pantone parcalarla bu mozaikleri yaptim.

They end up being very large pictures,

Sonucta cok buyuk resimler oldular,

and I photographed with a very large camera --

cok buyuk bir fotograf makinesiyle resimlerini cektim --

an 8x10 camera.

sekize onluk bir fotograf makinesiyle.

So you can see the surface of every single swatch --

Her bir parcanin yuzeyini gorebilirsiniz --

like in this picture of Chuck Close.

Chuck Close'un resminde oldugu gibi.

And you have to walk very far to be able to see it.

Ve gorebilmek icin resimden bir hayli geriye yurumeniz gerekli.

Also, the reference to Gerhard Richter's use of color charts --

Bir de Gerhard Richter'in renk tablosu kullanimina referansla --

and the idea also entering another realm of representation that's very common to us today,

ki bu fikir gunumuzde cokca kullanilan bir tarzla ortusmektedir --

which is the bit map.

nokta esasli (bitmap) calismalara geliyoruz.

I ended up narrowing the subject to Monet's "Haystacks."

Konuyu Monet'nin saman balyalarina indirgedim.

This is something I used to do as a joke --

Bunu eskiden bir saka olarak yapardim --

you know, make -- the same like -- Robert Smithson's "Spiral Jetty" --

yani mesela Robert Smithson'un Spiral Jetty'sinin aynisi

and then leaving traces, as if it was done on a tabletop.

ama sanki bir masa ustunde yapilmis gibi izler birakarak.

I tried to prove that he didn't do that thing in the Salt Lake.

Salt Lake'te olanlari yapmadigin ispat etmeye calistim.

But then, just doing the models, I was trying to explore the relationship

Ama sonra, yalnizca modelleri yaparak modelle orjinal

between the model and the original.

arasindaki iliskiyi incelemeye calistim.

And I felt that I would have to actually go there and make some earthworks myself.

Burada gidip yeryuzu calismalari yapmaliymisim gibi hissettim.

I opt for very simple line drawings -- kind of stupid looking.

Cok basit -- hatta aptalca -- cizimleri tercih ettim.

And at the same time, I was doing these very large constructions,

Ve ayni zamanda cok buyuk yapilardi bunlar,

being 150 meters away.

150 metre uzakta olduklari icin.

Now I would do very small ones, which would be like --

Cok kucuklerini de yaptim,

but under the same light, and I would show them together,

ayni isik altinda ikisini beraber gosterince,

so the viewer would have to really figure it out what one he was looking.

bakan kisinin gercekte hangisine baktigini cozmesi gerekiyordu.

I wasn't interested in the very large things, or in the small things.

Benim ilgimi ceken cok buyuk veya cok kucuk seyler degildi.

I was more interested in the things in between,

Ikisinin arasindaki seyler daha cok ilgimi cekiyordu,

you know, because you can leave an enormous range for ambiguity there.

cunku burada belirsizligi daha genis anlamda kullanabiliyordum.

This is like you see -- the size of a person over there.

Mesela burada -- bir insan boyutu goruyoruz.

This is a pipe.

Bu bir pipo.

A hanger.

Bir elbise askisi.

And this is another thing that I did -- you know working

Ve bu da yaptigim baska bir calisma --

-- everybody loves to watch somebody draw,

herkes resim yapan birini seyretmeyi sever,

but not many people have a chance to watch somebody draw in --

ama bircok kisinin ayni anda tek bir resmi cizen kisiyi seyretmesi --

a lot of people at the same time, to evidence a single drawing.

bu cok kisiye kismet olmaz.

And I love this work,

Ve bu calismayi cok begeniyorum,

because I did these cartoonish clouds over Manhattan for a period of two months.

cunku burada iki ay sureyle Manhattan uzerinde karikatursel bulutlar cizdik.

And it was quite wonderful, because I had an interest -- an early interest -- in theater,

Ve bu cok mukemmeldi cunku eskiden beri tiyatroya ilgim vardi,

that's justified on this thing.

bu calisma o ilgiyi hakli cikardi.

In theater, you have the character and the actor in the same place,

Tiyatroda bir karakter ve bir aktor ayni yerde bulunur,

trying to negotiate each other in front of an audience.

seyirci karsisinda birbirleriyle tartisir gibidirler.

And in this, you'd have like a --

Ve burada, elimizde --

something that looks like a cloud, and it is a cloud at the same time.

buluta benzeyen bir sey ve ayni zamanda bir bulut var.

So they're like perfect actors.

Mukemmel aktorlere benziyorlar.

My interest in acting, especially bad acting, goes a long way.

Benim rol yapmaya, ozellikle kotu rol yapmaya olan ilgim cok eskiye dayanir.

Actually, I once paid like 60 dollars

Aslinda, bir seferinde 60 dolar kadar bir para odeyip

to see a very great actor to do a version of "King Lear,"

cok iyi bir tiyatrocunu Kral Lear'i canlandirmasini seyretmeye gittim,

and I felt really robbed, because by the time the actor started being King Lear,

ve kendimi dolandirilmis hissettim cunku aktor Kral Lear rolunu oynarken

he stopped being the great actor that I had paid money to see.

benim gormek icin para verdigim mukemmel aktor olmaktan cikmisti.

On the other hand, you know, I paid like three dollars, I think --

Diger yandan, sanirim uc dolar verip

and I went to a warehouse in Queens

Queens'te bir depoda

to see a version of "Othello" by an amateur group.

amator bir grup tarafindan sahnelenen Otello'yu izlemeye gittim.

And it was quite fascinating, because you know the guy --

Buyuleyiciydi, cunku adi

his name was Joey Grimaldi --

Joey Grimaldi olan oyuncu

he impersonated the Moorish general

Fasli generali canlandiriyordu

-- you know, for the first three minutes he was really that general,

ve ilk uc dakika gercekten o general olmustu,

and then he went back into plumber, he worked as a plumber, so --

ve sonra tesisatci oldu, isi tesisatcilikti, arkadan --

plumber, general, plumber, general --

tesisatci, general, tesisatci, general --

so for three dollars, I saw two tragedies for the price of one.

boylece uc dolara, bir trajedi fiyatina ik tane gormus oldum.

See, I think it's not really about impression,

Bence olay izlenimle ilgili olmaktan cok

making people fall for a really perfect illusion,

insanlari gercekten mukemmel bir iluzyona inandirmak,

as much as it is to make -- I usually work at the lowest threshold of visual illusion.

uretmek de dahil -- Ben cogunlukla gorsel iluzyonun alt sinirinda calisiyorum.

Because it's not about fooling somebody,

Cunku olay birilerini kandirmak degil,

it's actually giving somebody a measure of their own belief:

kisiye kendi inanislarinin sinirlarini vermek:

how much you want to be fooled.

nereye kadar kandirilmak istiyorsunuz.

That's why we pay to go to magic shows and things like that.

Iste bu yuzden sihirbazlik ve benzeri gosterilere gidiyoruz.

Well, I think that's it.

Iste ben boyle dusunuyorum.

My time is nearly up.

Surem bitmek uzere.

Thank you very much.

Cok tesekkur ederim.