{"id":119089,"date":"2012-09-26T14:04:43","date_gmt":"2012-09-26T11:04:43","guid":{"rendered":"http:\/\/www.nationalturk.com\/?p=119089"},"modified":"2019-03-28T10:41:26","modified_gmt":"2019-03-28T07:41:26","slug":"zihinsel-temsiller-119089","status":"publish","type":"post","link":"https:\/\/www.nationalturk.com\/tr\/zihinsel-temsiller-119089\/","title":{"rendered":"Zihinsel Temsiller"},"content":{"rendered":"

\"\"<\/a>\u0130zmir Resim-Heykel M\u00fczesinde 10-28 Eyl\u00fcl 2012 tarihleri aras\u0131nda a\u00e7\u0131k kalan Heykelt\u0131ra\u015f Ekin Erman\u2019\u0131n \u201cB\u00fct\u00fcnl\u00fcks\u00fcz\u201d ba\u015fl\u0131kl\u0131 sergisi ile ilgili Sanat Ele\u015ftirmeni \u00d6zkan Ero\u011flu\u2019nun kaleme ald\u0131\u011f\u0131 yaz\u0131 a\u015fa\u011f\u0131dad\u0131r:<\/h1>\n

Zihinsel Temsiller<\/h2>\n

Sanat\u0131n hem tarihinde, hem de felsefesinde temsili sanat alg\u0131s\u0131ndan, teknik sanat alg\u0131s\u0131na do\u011fru giderken, arada -(1910-1960)- teori olan ya da olmayan sanat hareketlerine bakt\u0131\u011f\u0131m\u0131zda, bunlar\u0131n sanatta y\u00fczy\u0131llar s\u00fcren temsil \u00f6zelli\u011fini edinerek, 1970\u2019lerde ba\u015flayan teknik sanat olgusunun da teknik yan\u0131n\u0131 alarak farkl\u0131 bir sentez s\u00fcrece ili\u015fti\u011fini g\u00f6r\u00fcyoruz. Bu sentez s\u00fcre\u00e7, \u201cZihinsel Temsiller\u201d s\u00fcreci olarak kabul edilebilir ve Ekin Erman\u2019\u0131n \u201cB\u00fct\u00fcnl\u00fcks\u00fcz\u201d ba\u015fl\u0131kl\u0131 sergisi de hem bi\u00e7im, hem i\u00e7erik ba\u011flam\u0131nda s\u00f6z konusu s\u00fcrecin bug\u00fcnlere yans\u0131yan bir uzant\u0131s\u0131 olarak alg\u0131lanabilir.<\/p>\n

\"\"<\/a>D\u00fcnya sanat\u0131n\u0131n 1910-60 aras\u0131nda kabul g\u00f6rm\u00fc\u015f ne kadar \u00f6nemli \u00e7\u0131k\u0131\u015f\u0131 olmu\u015fsa b\u00fct\u00fcn bunlar\u0131n, bir arada kavramsal boyut olan \u201cZihinsel Temsil\u201d meselesine ili\u015fti\u011fini s\u00f6ylemekle, kar\u015f\u0131 sanat mant\u0131\u011f\u0131n\u0131 i\u00e7inde bar\u0131nd\u0131ran Dada hareketinden tutunda, Kandinsky\u2019nin soyutlamada ruhsall\u0131\u011f\u0131 de\u011ferlendirmesine kadar, hatta sonras\u0131nda Duchamp ger\u00e7ekli\u011finin b\u00fcy\u00fcyerek ve cesaret g\u00f6sterdi\u011fi, bilhassa mek\u00e2n\u0131 da kapsayan yerle\u015ftirmeleriyle sanata dahil etti\u011fi nokta, yani yetkinle\u015fen zihinsel temsil olgusu; Dada sergilemelerindekine benzer, olduk\u00e7a kalabal\u0131k imajl\u0131 Ekin Erman sergisinde de kullan\u0131lmaktayd\u0131.<\/p>\n

Yukar\u0131da dile getirdi\u011fim zihinsel temsil olgusunun, kan\u0131mca temel iki kavramla ilgisi var: Bunlardan biri \u201cruhsall\u0131k\u201d ki, buna ba\u011fl\u0131 olarak kendini belli etmi\u015f, gene kavram olarak iki alt katman ki; onlar da \u00f6ncelikle \u201cderin hislenme\u201d ve sonras\u0131ndaki \u201cemprovizasyon\u2019dur (i\u00e7ten gelirlik)\u201d. Di\u011fer kavramsa anti-art (kar\u015f\u0131 sanat) mant\u0131\u011f\u0131n\u0131n ileri s\u00fcrd\u00fc\u011f\u00fc \u201cnihilizm (hi\u00e7\u00e7ilik)\u201d \u015feklinde kendini belli etmektedir.<\/p>\n

\u00d6ncelikle belirtmekte yarar olacak ki, sergide yer alan t\u00fcm \u00e7al\u0131\u015fmalarda ruhsall\u0131k boyutunun derin hislenme \u00f6zelli\u011fine ili\u015fen yan\u0131, olduk\u00e7a yo\u011fun \u015fekilde kendini belli etmekte. Kandinsky\u2019nin \u201cStimmung\u201d tan\u0131m\u0131nda kar\u015f\u0131l\u0131\u011f\u0131n\u0131 bulan ve kuramsal yakla\u015f\u0131mlar\u0131nda de\u011ferlendirdi\u011fi bu s\u00f6zc\u00fck, \u00f6ncelikle sanat\u0131n yarat\u0131c\u0131 boyutuna ili\u015fmekteydi. Ekin Erman da b\u00f6ylesine kapsaml\u0131 sergisinde, derin hislenme \u00f6zelli\u011fini homojen anlamda bir de\u011ferlendirme alt\u0131na alm\u0131\u015f g\u00f6r\u00fcn\u00fcyor. \u00d6rne\u011fin sergi mek\u00e2n\u0131nda, giri\u015fin tam kar\u015f\u0131 taraf\u0131nda yer alan do\u011fadan edinilmi\u015f ve sanat\u00e7\u0131 taraf\u0131ndan baz\u0131 eleman dahil etme s\u00fcre\u00e7lerine tabi k\u0131l\u0131nm\u0131\u015f \u00e7al\u0131\u015fmalara odakland\u0131\u011f\u0131n\u0131zda, i\u00e7eri\u011fin \u00f6tesinde birer bi\u00e7im dili olarak emprovize olman\u0131n yan\u0131 s\u0131ra ruhsall\u0131\u011f\u0131 hedef alm\u0131\u015f oldu\u011funu g\u00f6r\u00fcyoruz. Burada sadece sanat\u00e7\u0131n\u0131n emprovizasyona dayal\u0131 boyutunu de\u011fil, do\u011fasal yap\u0131n\u0131n da t\u00fcmden do\u011fal \u015fartlar e\u015fli\u011finde geli\u015fen i\u00e7ten gelirli\u011fini hissedebiliyoruz. Bu \u00e7al\u0131\u015fmalardan birinde \u201cbulu\u015fma\u201d tan\u0131m\u0131nda \u0131srarc\u0131 oldu\u011fu g\u00f6zlenmekte: Bulu\u015fma, bir nokta etraf\u0131nda birden fazla \u00f6znenin bulu\u015fmas\u0131 anlam\u0131na geliyor. Fakat burada, s\u00f6z konusu \u201cbulu\u015fma\u201d tan\u0131m\u0131n\u0131 do\u011fasal olanla, sanatsal olan\u0131n bir bulu\u015fmas\u0131 olarak de\u011ferlendirebiliyoruz. Tam bu noktada do\u011fasal olanla \u00f6znel olan sanat\u00e7\u0131n\u0131n yan yanal\u0131\u011f\u0131 gibi ilgin\u00e7, asl\u0131nda o denli de fizik \u00f6tesi gibi duran bir konunun da gayet rahat-emprovize bir \u015fekilde g\u00f6sterge k\u0131l\u0131nd\u0131\u011f\u0131na dikkat \u00e7ekebiliriz.<\/p>\n

\"\"<\/a>G\u00f6sterge, dolay\u0131s\u0131yla i\u015faret konusu da derin hislenme olgusunun \u00e7ok \u00f6nemli sa\u00e7 ayaklar\u0131ndan biridir ve Ekin Erman\u2019\u0131n asl\u0131nda sergisinde, sergilemeye g\u00f6re yarat\u0131lan \u00f6nem noktalar\u0131n\u0131n (wichtiger punkt) nas\u0131l b\u00fct\u00fcnl\u00fckl\u00fc genesis\u2019ler i\u00e7erdi\u011fini ifade etmeye yard\u0131m etmektedir. Serginin bu taraf\u0131nda ismi \u201cDinlemek\u201d olan bir \u00e7al\u0131\u015fmada da do\u011fada varl\u0131\u011f\u0131n\u0131 herkesin hissedemeyece\u011fi bir a\u011fa\u00e7 g\u00f6vdeyi, kordonlar\u0131yla birlikte plastik kulakl\u0131klar\u0131n sard\u0131\u011f\u0131n\u0131 g\u00f6rmekteyiz. Bu, do\u011fal olarak bir d\u00fczenleme olmakla birlikte, ah\u015fap g\u00f6vdenin, derin hisler harekete ge\u00e7irilerek \u201c\u00f6teki ben\u201d ba\u011flam\u0131nda nesneden \u00f6zneye \u00e7ekilmek istendi\u011fi, ya da o ah\u015fap g\u00f6vdeyi kendinden biri gibi g\u00f6ren sanat\u00e7\u0131n\u0131n ona hissettiklerini in\u015fa etmesi durumuyla kar\u015f\u0131la\u015fmam\u0131z anlam\u0131na gelmektedir. Genelde do\u011fadan duyarl\u0131 ve derin hisli g\u00f6zlerle elde edilmi\u015f, \u00e7o\u011fu insan\u0131n yan\u0131ndan ge\u00e7erken fark etmedi\u011fi ah\u015fap k\u00fctleleri, serginin bu b\u00f6l\u00fcm\u00fcnde de\u011ferlendiren Ekin Erman, burada \u201ckavu\u015fturmak\u201d, \u201ckavu\u015fturma\u201d gibi ilk anda sanki birbirinin ayn\u0131s\u0131ym\u0131\u015f gibi alg\u0131lanabilecek, fakat ufak n\u00fcanslarla birbirinden ayr\u0131lan tan\u0131mlamalar\u0131 da \u00e7al\u0131\u015fmalar\u0131 \u00fczerinden de\u011ferlendirdi\u011fini fark etmekteyiz.<\/p>\n

Asl\u0131nda g\u00f6stergeleri s\u00f6zc\u00fcklere dek de \u00e7ekmek isteyen sanat\u00e7\u0131, bu tavr\u0131yla sergisinin salt iki boyut ya da \u00fc\u00e7 boyutu sorgulamad\u0131\u011f\u0131n\u0131, mutlak surette plastik yap\u0131ya y\u00fcklenen kavramsal i\u00e7sellikleri de de\u011ferlendirdi\u011fini vurgulam\u0131\u015f oluyor.<\/p>\n

\"\"<\/a>Serginin bu ucunda dile getirdi\u011fimiz \u00e7al\u0131\u015fmalar\u0131ndan birinde, \u201cbulu\u015fma\u201d tan\u0131m\u0131n\u0131 \u00e7o\u011fulla\u015ft\u0131rarak, sanki ortaya \u00e7\u0131kan bu tan\u0131m\u0131n, t\u0131pk\u0131 modern ve \u00e7a\u011fda\u015f sanat s\u00fcre\u00e7lerde oldu\u011fu gibi, nas\u0131l bilin\u00e7li \u015fekilde \u00e7o\u011fulla\u015ft\u0131r\u0131ld\u0131\u011f\u0131na g\u00f6nderme yapmakta, sergisinin orta k\u0131sm\u0131nda da gene do\u011fal ta\u015f malzemeleri ba\u015fka malzemelerle yan yana getirerek, derin hislenme ve ruhsall\u0131\u011f\u0131n\u0131, dolay\u0131s\u0131yla bu y\u00f6nlerdeki duyarl\u0131\u011f\u0131n\u0131 dile getirdi\u011fi \u00e7al\u0131\u015fmalar\u0131n\u0131 da \u201cbulu\u015fmalar\u201d tan\u0131m\u0131 alt\u0131nda ele almaktad\u0131r. Zaten olduk\u00e7a kalabal\u0131k olan bu b\u00f6l\u00fcm\u00fcn d\u0131\u015f\u0131nda izleyiciyi giri\u015f b\u00f6l\u00fcm\u00fcnde kar\u015f\u0131layan ve giri\u015fin orta yerinde toplanan \u00fc\u00e7 boyutlu ta\u015f ve seramik \u00e7al\u0131\u015fmalar, yan\u0131s\u0131ra b\u00fct\u00fcn yap\u0131tlar\u0131n\u0131 adeta \u00e7embere alan resim ve foto\u011fraflar\u0131 da dikkat \u00e7ekmekteydi. Ekin Erman\u2019la ilgili bu yaz\u0131y\u0131 kaleme al\u0131rken, serginin b\u00fct\u00fcn\u00fcn\u00fcn bir konsept olarak sunuldu\u011funu d\u00fc\u015f\u00fcnd\u00fc\u011f\u00fcmden, meseleyi bu genel konsept dahilinde de\u011ferlendirmeyi bizzat istedim.<\/p>\n

Do\u011fal malzemelerle olan ili\u015fkisi noktas\u0131nda, Ekin Erman\u2019\u0131n bu malzemelere gayet emprovize bir duyarl\u0131kla m\u00fcdahalelerde bulunmas\u0131, kendinden-t\u0131pk\u0131 ilkel ressam\u0131n ma\u011fara duvarlar\u0131na resimlemesi gibi- izler b\u0131rakmas\u0131 \u015feklinde yorumlayabilece\u011fimiz yap\u0131t alg\u0131s\u0131nda ve yap\u0131lar\u0131nda, kan\u0131mca \u201ckendine ait k\u0131lmak\u201d g\u00fcd\u00fcs\u00fcn\u00fc i\u00e7inde bar\u0131nd\u0131rmakla yarat\u0131c\u0131 bir nihilist tavr\u0131 da ortaya koydu\u011funu d\u00fc\u015f\u00fcn\u00fcyorum. Ben sergiyi izlerken, sanat\u00e7\u0131n\u0131n en az Arte Povera\u2019c\u0131lar kadar do\u011faya ili\u015fti\u011fini ve do\u011fadan kendine yarar sa\u011flad\u0131\u011f\u0131 kan\u0131s\u0131na da ula\u015ft\u0131m. Povera\u2019c\u0131lar i\u00e7in ele\u015ftirmenleri Germano Celant, \u201conlar\u0131n her biri b\u00fcy\u00fcc\u00fc\u201d dememi\u015f miydi? Kan\u0131mca Ekin Erman da t\u00fcm sergisi ba\u011flam\u0131nda bir b\u00fcy\u00fcc\u00fc, hatta bir rit\u00fcel yanl\u0131s\u0131 g\u00f6z\u00fckmektedir. Yoksa \u201csanat\u00e7\u0131 bedeni olgusu\u201dnun sergideki tam varl\u0131\u011f\u0131na d\u00f6n\u00fck hissettirimini de belli aral\u0131klarla \u00e7ald\u0131\u011f\u0131 ney arac\u0131l\u0131\u011f\u0131yla izleyiciye iletmesi ba\u015fka t\u00fcrl\u00fc nas\u0131l a\u00e7\u0131klanabilir ki… Ortaya \u00e7\u0131kan m\u00fczik t\u0131n\u0131lar\u0131yla beraber d\u00fc\u015f\u00fcn\u00fcld\u00fc\u011f\u00fcnde, sanat\u00e7\u0131n\u0131n, vurgulad\u0131\u011f\u0131m\u0131z rit\u00fcel \u00f6zelli\u011fi de sergisinin atmosferinde de\u011ferlendirmek istedi\u011fine ayr\u0131ca dikkat \u00e7ekilebilir. Ekin Erman, sergisiyle iyice emprovize olana ula\u015fma ad\u0131na \u00f6zg\u00fcrle\u015fme, di\u011fer taraftan da var olan sanat ortam\u0131ndan kendini \u00e7ekme konular\u0131na da derinden derinden hayli \u00f6zen g\u00f6stermekle kan\u0131mca Povera\u2019c\u0131larla ortak bir paydaya sahiptir.<\/p>\n

\"\"<\/a>
Ekin Erman<\/figcaption><\/figure>\n

Sanat\u00e7\u0131n\u0131n, Dada\u2019n\u0131n da \u00f6nemli bir \u00f6zelli\u011fi olan nihilizm kavram\u0131yla ili\u015fkisi, idealist olmas\u0131 boyutuyla ilgili durmaktad\u0131r kan\u0131mca. \u00c7\u00fcnk\u00fc nihilizm, idealist bak\u0131\u015f a\u00e7\u0131s\u0131n\u0131n bir par\u00e7as\u0131d\u0131r. Sanat\u00e7\u0131n\u0131n hemen her yap\u0131t\u0131nda idealist eleman sentezleriyle \u00e7ok a\u00e7\u0131k bir \u015fekilde ilgilenmesi ve mutlak surette kendi ben\u2019ine dair i\u015faretler b\u0131rakma ve buradan derin hislenmelere y\u00f6nelmesi, onun nihilizme olan yak\u0131nl\u0131\u011f\u0131n\u0131 iyice ortaya koyar.<\/p>\n

Ekin Erman, sergisinde yer almamas\u0131na kar\u015f\u0131n video \u00e7al\u0131\u015fmalara, dolay\u0131s\u0131yla teknik temsil veya teknik imaj diyebilece\u011fimiz hareketli imaj meselelerine de kafa yormaktad\u0131r. Sanat\u0131n bug\u00fcn geldi\u011fi noktada bir heykel sanat\u00e7\u0131s\u0131n\u0131n bunu fark etmesi, kan\u0131mca \u00e7ok de\u011ferli bir nokta. \u00c7\u00fcnk\u00fc temsili sanatla, teknik sanat aras\u0131nda duran ve serginin tamam\u0131n\u0131 ku\u015fatan zihinsel temsil meselesini de video arac\u0131l\u0131\u011f\u0131yla a\u015fmak istencini (kunstwollen) g\u00f6sterir. Sanat\u00e7\u0131n\u0131n buradaki fark\u0131ndal\u0131\u011f\u0131n\u0131n, onun yarat\u0131c\u0131 sanata ili\u015fen yan\u0131nda de\u011ferli bir nokta oldu\u011funa i\u015faret etmemin nedeni, bir \u015fekilde taraf\u0131mca \u015f\u00f6yle form\u00fcle edilen ayn\u0131 sonuca, Ekin Erman\u2019\u0131n da kendince bir yoldan vard\u0131\u011f\u0131 ger\u00e7e\u011fini hissetmemle ilgilidir. S\u00f6z\u00fcn\u00fc etti\u011fim sonu\u00e7 aynen \u015f\u00f6yle dile gelebilir: Sanat\u0131n epeyce uzun tarihinde \u201cA Noktas\u0131: Giotto, B Noktas\u0131: Duchamp, C Noktas\u0131: ?\u201d \u015feklinde form\u00fcle etti\u011fim ve 2000\u2019li y\u0131llar\u0131n ba\u015f\u0131ndan beridir ileri s\u00fcrd\u00fc\u011f\u00fcm tezin, C Noktas\u0131 taraf\u0131n\u0131n tekrar resimden kaynak bulaca\u011f\u0131n\u0131 ve bu imaj boyutunsa, kan\u0131mca hareketli oldu\u011funu belirtmeliyim. Bu arada sineman\u0131n bir \u201ckare esteti\u011fi\u201dne dayand\u0131\u011f\u0131n\u0131 da s\u0131kl\u0131kla dile getiririm. Hareket eden resim prensibine dayanan sinemadan da \u00f6te bir boyut olan video olgusundan \u00e7\u0131k\u0131\u015f bulabilecek bir \u201cC Noktas\u0131\u201d olu\u015fumuyla kar\u015f\u0131 kar\u015f\u0131ya oldu\u011funu s\u00f6ylemek isterim.<\/p>\n

Priv.-Doz.Dr.\u00d6zkan Ero\u011flu<\/strong>
\n Habilitation in Philosophie der Kunst<\/strong><\/p>\n\n","protected":false},"excerpt":{"rendered":"

\u0130zmir Resim-Heykel M\u00fczesinde a\u00e7\u0131k kalan Heykelt\u0131ra\u015f Ekin Erman\u2019\u0131n \u201cB\u00fct\u00fcnl\u00fcks\u00fcz\u201d ba\u015fl\u0131kl\u0131 sergisi ile ilgili Sanat Ele\u015ftirmeni \u00d6zkan Ero\u011flu\u2019nun kaleme ald\u0131\u011f\u0131 yaz\u0131s\u0131.<\/p>\n","protected":false},"author":9192214,"featured_media":115601,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[6221,6670],"tags":[112051,196075,79897,77619,82968],"class_list":["post-119089","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kultur","category-sanat","tag-ekin-erman","tag-ozkan-eroglu","tag-resim","tag-sanat-elestirmeni","tag-sergi"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.nationalturk.com\/tr\/wp-json\/wp\/v2\/posts\/119089","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.nationalturk.com\/tr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.nationalturk.com\/tr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.nationalturk.com\/tr\/wp-json\/wp\/v2\/users\/9192214"}],"replies":[{"embeddable":true,"href":"https:\/\/www.nationalturk.com\/tr\/wp-json\/wp\/v2\/comments?post=119089"}],"version-history":[{"count":0,"href":"https:\/\/www.nationalturk.com\/tr\/wp-json\/wp\/v2\/posts\/119089\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.nationalturk.com\/tr\/wp-json\/wp\/v2\/media\/115601"}],"wp:attachment":[{"href":"https:\/\/www.nationalturk.com\/tr\/wp-json\/wp\/v2\/media?parent=119089"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.nationalturk.com\/tr\/wp-json\/wp\/v2\/categories?post=119089"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.nationalturk.com\/tr\/wp-json\/wp\/v2\/tags?post=119089"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}