Abstract Antoine-Ignace Melling's engraving Inside the Harem of the Sultan (c 1810) depicts women's everyday life and their relationships, rituals and spatial practices in the Ottoman harem. Two centuries later, İnci Eviner, one of the leading contemporary artists internationally acclaimed for her solo and group exhibitions as well as for her contribution to numerous biennials, animates the same anonymous women in her video Harem (2009) by displacing the spatio-temporal nexus of Melling's work and exposes, in the manner of a visual parrhesia, the desires, the revolting gestures and the violence inherent in the harem. To discuss the nature of this displacement, we open with a few initial remarks on Melling's Harem. Then we focus on Eviner's Harem, elaborating on the forms of subjectivity and spatiality it evokes. In this discussion we pay special attention to the role of becoming, sacrifice, resurrection and the virtual in Eviner's work. The power relation specific to the harem, that of between the despot and the female slave, plays a pivotal role in this context. To end with, we turn to another significant work by Eviner, The Parliament, which, rather unexpectedly, relates the subjective and spatial nexus of the Oriental harem to Western politics.

中文翻译：

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从梅林的后宫到埃文纳的后宫

摘要 Antoine-Ignace Melling 的版画 Inside the Harem of the Sultan (c 1810) 描绘了奥斯曼帝国后宫中女性的日常生活及其关系、仪式和空间实践。两个世纪后，因个人和群展以及对众多双年展的贡献而享誉国际的当代领先艺术家之一 İnci Eviner，在她的视频后宫（2009 年）中通过置换时空关系为同样的匿名女性注入了活力梅林的作品，并以视觉直言的方式暴露了后宫中固有的欲望、反抗的姿态和暴力。为了讨论这种置换的性质，我们首先对梅林的后宫进行一些初步评论。然后我们关注埃文纳的后宫，详细阐述它所唤起的主观性和空间性的形式。在这个讨论中，我们特别关注了埃文纳作品中的生成、牺牲、复活和虚拟的作用。后宫特有的权力关系，即暴君与女奴之间的权力关系，在这方面起着举足轻重的作用。最后，我们转向埃文纳的另一部重要作品《议会》，该作品出人意料地将东方后宫的主观和空间联系与西方政治联系起来。