“Beyond politics - humanity memory.”
International Public Art Installation Support Presentation
“If no one dares to hold these hands,
the waves will swallow not only the bodies but also our humanity.”
Lost Hands Project
The sea is the silent witness of the lives lost on the migration route.
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It is a universal art installation that draws attention to the losses experienced in refugee sea crossings.
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It will be exhibited along migration routes and crossing points in order to make human solidarity visible.
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It reveals the trace of absence left behind, without showing the tragedy itself.
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This project aims to raise awareness at the international level.
Lost Hands makes visible the emptiness and silence left behind after loss, through symbolic hands rising from the sea and life buoys floating on the surface.
The aim of the project is to remind the world of our common human responsibility, our sense of unity and our need for solidarity.
This installation does not tell the story of those who disappeared;
It shows the weight of the void they left behind.
It is not the person who is visible, but their absence.
A Universal Call to Conscience
Refugee is not a dream; For most children, it is the name of a forced migration.
Raising your hand in a classroom is the excitement of knowing the right answer;
but for some children, raising your hand has become the only way to ask for help.
No child ever dreamed of crossing the sea.
Their dream was to answer the teacher's question on the classroom board;
not with the waves and darkness.
No child's game should be hide and seek with the sea.
They did not start life as lucky as other children in the world.
They grew up under the same sky, but they were never given the same opportunities.
Lost Hands is a universal call for awareness;
says that children who do not start equally deserve to be remembered equally.
Lost Hands is not produced to document an event; designed to remember, stop and think.
Why This Project?
The Aegean Sea has been an area where cultures and people intersect for centuries.
In recent years, the same sea, nothing left behind. It has witnessed countless lives lost without a trace.
Lost Hands was created not to tell about these losses;
to make visible the absence left behind.
Mission
To make visible the silence and emptiness left after the lives lost in seaborne migrations
and to raise awareness at the international level.
Project Message
Migration is not a statistic; It is a human rupture.
This installation does not show what is lost;
it makes visible the trace left behind after they disappear.
It focuses on the absence, not the pain itself.
Why Hands?
Hands do not carry identification; It is universal.
It does not require language, religion or nationality.
The absence of faces is a conscious choice; because the aim is to make common humanity visible, not individual identity.
This project does not sculpt the person; It shapes the absence of the person.
Space and Time
Although it was first conceived for the Bodrum-Kos line,
Lost Hands does not belong to a single country or city.
To be exhibited at important sea migration routes and crossing points around the world. designed,
is a global art initiative.
What Will Be the Impact of This Project?
Public and Cultural Impact
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Creates a quiet but powerful field of awareness in public spaces
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Provides a universal visual language that appeals to an international audience
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Becomes a reference project for art, human rights and memory studies
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Long-term through photography, video and exhibitions enters a circulation
This project affects without disturbing,
reminds us without letting us forget.
1. Project Scale
The project begins with a pilot installation consisting of 24 sculptural hands.
It will cover a sea surface of approximately 150–200 m².
2. Technical Specifications
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Durable and long-lasting (marine-grade) materials suitable for sea conditions
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Average height: 120–200 cm (hands)
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Life buoy and rope system
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Modular structure that can be fixed to the sea surface, dismantled and reassembled at different migration routes and crossing points
3. Production and Exhibition Approach
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Hands are positioned like a trace left behind on the sea
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The structure is fixed but not permanent
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The impact of the project increases with the exhibition at each new sea migration crossing point
Project Calendar (General)
Total Duration: 3 Years
Lost Hands is designed as a traveling public art installation.
1. Year – Production and First Exhibitions
1–3. Months | Preparation and Production
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Final technical designs and engineering drawings
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Material selection and determination of production methods
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Production of 24 sculptural hands
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Lifebuoy and rope attachment systems
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Test assemblies and durability trials
2. Year Goal
To complete the exhibition phase in Turkey,
to turn the project into a public art movement without borders,
ready to be exhibited at global migration crossing points.
3. Year – European Coastal Phase
Start Regions
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Coasts of Turkey
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Coasts of Greece and Aegean islands
Target Regions
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Coasts of Italy
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Coasts of Southern France or Spain
Number of Exhibition Points
3–4 different locations
Within the Scope of This Phase
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Final installations at key maritime migration crossing points
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Collaborative presentations with local institutions and cultural initiatives
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Re-configurable format that can be adapted to any new location
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Visual archive expanded with photography and video in each exhibition
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Exhibition at each location for 1–2 months, then dismantling and transporting to the next route
Logistics Plan
Modular System
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24 sculptural hands are designed to be safely disassembled and assembled
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Specially produced, protective carrying Transported in crates
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Resistant to damage during sea removal and re-installation
Transportation and Installation
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A transportation model is applied in which land and sea logistics are used together
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Installations are carried out in cooperation with local teams It is carried out
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Does not require a permanent infrastructure
Environmental Sensitivity
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A fixing system that does not harm the seabed and the environment is used
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Does not leave any traces in the environment after dismantling
The Power of the Implementation Plan
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It is not a one-time exhibition, but a sustainable public art journey spanning 3 years
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With each new installation, it carries the name of the institutions supporting the project into international circulation
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Creates a new area of awareness with each exhibition and builds a permanent cultural archive
Gains for Supporting Institutions
Institutions supporting this project:
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Gains international visibility
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Ethical and becomes part of a humanitarian stance
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Contributes to collective memory through art
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Is among the founding supporters of a long-term, global awareness initiative
Role of Supporters
Supporters are only financial contributors
they are also partners who carry the message of the project forward.
Each supporting institution becomes part of a movement that carries the voice of absence beyond borders.
Fundamental Principle
Supporters are not just funders;
stakeholders who magnify the impact, share visibility and assume responsibility together.
This project does not leave its supporters in the background;
makes them a direct part of the movement
Support Offer
Lost Hands is an international art that expresses that being a refugee is not a choice, but a forced migration most of the time to survive.
The project envisages institutional support in the following areas:
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Sculptural hand production and technical equipment
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Temporary and safe installation suitable for sea conditions
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Professional photo and video documentation
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Contribution to international exhibition and presentation processes
This project does not directly tell about the lives lost at sea;
it makes the absence left behind visible and shapes our common humanitarian responsibility.
Therefore, supporting Lost Hands is an ethical choice. Beyond that,
it is a natural area of responsibility for institutions operating on an international scale.
An institution that supports the project not only contributes to a work of art;
it also embraces a call for global responsibility.
Supporting Lost Hands. expresses the following stance:
“We are here and it is our duty to carry this message forward.”
The basic message of the installation is clear:
Taking action together and raising awareness to prevent similar losses in the future,
joint responsibility of international institutions and
Why is your support important?
Why should international institutions be part of this project?
The Sea of Hands does not tell a local issue.
Through a universal artistic language, it approaches a global human issue.
Support from international institutions:
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Strengthens the impartiality and ethical stance of the project
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Opens a wider space for intercultural dialogue
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Increases the international visibility and long-term impact of the project
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Supports a permanent presence throughout future exhibitions
This support not only ensures the production;
it also expresses being part of a shared global responsibility.
Hasan Cingiz is a visual artist working in the disciplines of public art, sculpture and installation.
He centers people, space and memory in his productions; focuses on the invisible relationships between these elements.
His works aim to establish a silent, direct and unmediated connection with the viewer, without any guidance or intervention.
The artist's works are located in private collections in different countries and cities of the world.
Through his projects that are exhibited and shared internationally, he goes beyond geography. passing; It aims to establish an emotional dialogue between places, people and memories.
Sponsors:
This section will be updated later.
Supporting Institutions and Organizations:
This section will be updated later.
Kurumsal kimlik
Logo, videos, images and other downloadable files.
PRESS KIT
If you, as members of the press and media, would like to support us…
COMMUNITY
Business associations, municipalities, museums, civil networks.
Resource Plan
Sponsorship, funding, collaborations, budget contributions, production needs, installation support…
At what stage is the project now?
Your idea birth
Creation of corporate file
Preparation of video, visual and text content
Creation of printed and digital presentation files
3D production scaled to 10% of the original size.
Establishing communication with the institutions from which support is requested.
Determining sponsors and signing the contract.
Production of sculptures and supply of other materials.
Placement of the statues in the pilot area.
Preparation of international press releases, photography and video shootings.
1. Phase: Exhibition and Transportation (Bodrum – Turkey)
2. Stage: Exhibition and Transportation (Kos – Greece)
3. Stage: Exhibition and Transport
4. Stage: Exhibition and Transportation
5. Stage: Display and Transport
FINAL STAGE – Sharing the obtained data and findings with the international press.
Remember
