{"id":270507,"date":"2018-10-24T19:45:28","date_gmt":"2018-10-24T16:45:28","guid":{"rendered":"http:\/\/www.nationalturk.com\/?p=270507"},"modified":"2018-10-24T19:45:28","modified_gmt":"2018-10-24T16:45:28","slug":"cikintas-estetiginin-dirimsel-yonu","status":"publish","type":"post","link":"https:\/\/www.nationalturk.com\/tr\/cikintas-estetiginin-dirimsel-yonu\/","title":{"rendered":"\u00c7\u0131k\u0131nta\u015f Esteti\u011finin Dirimsel Y\u00f6n\u00fc"},"content":{"rendered":"

Sanat direkt\u00f6r\u00fc ve yazar Meral Bostanc\u0131\u2019n\u0131n kaleme ald\u0131\u011f\u0131 “\u00c7\u0131k\u0131nta\u015f Esteti\u011finin Dirimsel Y\u00f6n\u00fc” ba\u015fl\u0131kl\u0131 yaz\u0131s\u0131;<\/h2>\n

Sanatta her \u015fey, \u00f6zellikle de ba\u015flang\u0131\u00e7ta, duygu i\u015fidir (V.Kandinsky)(i)<\/em><\/p>\n

Sabahat \u00c7\u0131k\u0131nta\u015f, sanat kavram\u0131n\u0131, f\u0131r\u00e7a ya da kalemin kendilerine \u00f6zg\u00fc tarzlar\u0131n\u0131 kullanmak yerine daha nesnel materyaller kullanarak vurgulamay\u0131 tercih eden bir sanat\u00e7\u0131d\u0131r. Do\u011fa ve evrendeki de\u011fi\u015fim olgusunu varolu\u015fsal bir izlekten hareketle sorgulama alan\u0131na d\u00e2hil eden sanat\u00e7\u0131, daha \u00e7ok \u201csemiyotik\u201d bir tabiat\u0131n \u00f6\u011feleriyle ortaya \u00e7\u0131kan \u00e7ok \u00e7e\u015fitli sanatsal \u00e7al\u0131\u015fma ve etkinliklere imza atm\u0131\u015f, \u00e7izgi d\u0131\u015f\u0131 ve yenilik\u00e7i ifade olas\u0131l\u0131klar\u0131n\u0131 \u00e7al\u0131\u015fmalar\u0131nda bir araya getirmi\u015ftir.<\/p>\n

Ba\u015fat bir d\u00fc\u015f\u00fcnce olarak sanat, i\u00e7inde ya\u015fan\u0131lan zamanda tam olarak kar\u015f\u0131lanamayan istemlerin \u00fcretilmesine arac\u0131l\u0131k eder. \u00c7al\u0131\u015fmalar\u0131nda yer alan her t\u00fcrl\u00fc fragmanla\u015ft\u0131rma, rastlant\u0131 ve kaotik entropiye ra\u011fmen \u00c7\u0131k\u0131nta\u015f, evrensel dengenin fark\u0131nda bir ki\u015filik olarak do\u011fan\u0131n dirimsel karakterine uyumlu ve kozmik bir birim aray\u0131\u015f\u0131na tutkun d\u00fczenlemeleriyle \u00f6ne \u00e7\u0131kar. Bu do\u011frultudan hareketle, kare ba\u015fta olmak \u00fczere, daire, k\u00fcre, dikd\u00f6rtgen, \u00fc\u00e7gen, prizma ve k\u00fcbik geometrik yap\u0131lar \u00e7al\u0131\u015fmalar\u0131n\u0131n yap\u0131 ta\u015flar\u0131n\u0131 olu\u015fturur.<\/p>\n

\"\u00c7\u0131k\u0131nta\u015f
KOT NO-0620-2014-121,5X109,5CM-KARI\u015eIK TEKN\u0130K.<\/figcaption><\/figure>\n

\u00d6te yandan, \u00f6zellikle son d\u00f6nem \u00fcretti\u011fi yap\u0131tlar\u0131nda se\u00e7mi\u015f oldu\u011fu teknik daha \u00e7ok kolaj ve asamblaj (birle\u015ftirme) tekni\u011fidir. Bilindi\u011fi gibi kolaj ve asamblaj, kendini z\u0131t par\u00e7alarda a\u00e7\u0131\u011fa \u00e7\u0131kar\u0131r. \u00c7\u0131k\u0131nta\u015f, \u201cD\u00fczenlemeler\u201d adl\u0131 \u00e7al\u0131\u015fmas\u0131nda oldu\u011fu gibi, kendi hayat\u0131nda uzun y\u0131llar yer etmi\u015f; onunla ya\u015fam\u0131\u015f ya da fonksiyonel g\u00fcncelli\u011fini yitirerek bir kenara b\u0131rak\u0131lm\u0131\u015f eski e\u015fya, dergi, gazete, ambalaj naylonu ve foto\u011fraf gibi haz\u0131r nesneler kullanarak kurgulad\u0131\u011f\u0131 \u00e7al\u0131\u015fmalar\u0131nda genellikle bu teknikleri kullanm\u0131\u015ft\u0131r. Bu d\u00fczenlemelerin her biri sanat\u00e7\u0131n\u0131n i\u00e7sel varolu\u015f sorgulamalar\u0131n\u0131n adeta y\u00fczeye yans\u0131yan par\u00e7alar\u0131 gibidir. \u0130\u015flevselli\u011fini yitirmi\u015f compact disc\u2019lerin \u00fczerine yap\u0131\u015ft\u0131r\u0131lan g\u00f6rsel g\u00f6stergeler ve sloganlarla kurgulanan bu seriler, \u2018d\u00f6n\u00fc\u015f\u00fcm\u2019 (transformation) kavram\u0131na yazg\u0131l\u0131 g\u00f6r\u00fcn\u00fcr. Daha \u00f6ncesinde bir \u015fekilde ya\u015fam\u0131nda yer eden her hangi bir \u2018\u015fey\u2019, tekrar kullan\u0131ma sokulmu\u015f; d\u00fc\u015f\u00fcnsel bir sorgulama sonucunda \u2018sanatsal nesne\u2019ye d\u00f6n\u00fc\u015fm\u00fc\u015f; ba\u015fka bir boyuta evrilmi\u015ftir art\u0131k…<\/p>\n\n

\u00c7\u0131k\u0131nta\u015f, ilk a\u015famada, tesad\u00fcf ve do\u011fa\u00e7lama olarak ortaya \u00e7\u0131kan spontane d\u0131\u015favurumlarla soyut formlar \u00e7izmeye ba\u015flam\u0131\u015f, daha sonraki a\u015famalardaysa ele ge\u00e7irdi\u011fi at\u0131k nesne fragmanlar\u0131n\u0131 sezgisel kolaj uygulamalar\u0131 bi\u00e7iminde bir tak\u0131m d\u00fczenlemeler yaparak olu\u015fturmu\u015ftur. Sanat\u00e7\u0131n\u0131n sonu\u00e7ta g\u00f6rsel bir sunum haline getirdi\u011fi bu at\u00f6lye \u00e7al\u0131\u015fmalar\u0131n\u0131n \u00e7ok geni\u015f bir alana yay\u0131lmas\u0131 her \u015feyi par\u00e7alay\u0131p i\u015flevsel ba\u011flamlar\u0131ndan kopar\u0131lm\u0131\u015f soyut veya geometrik yap\u0131lara d\u00f6n\u00fc\u015ft\u00fcrme giri\u015fimi hakk\u0131nda s\u00f6ylenebilecek hususlar ister istemez \u00f6znel bir yakla\u015f\u0131m ve okuma problemati\u011fini de zorunlu k\u0131lmaktad\u0131r. Daha farkl\u0131 bir anlat\u0131mla, \u00c7\u0131k\u0131nta\u015f\u2019\u0131n bu bi\u00e7imde bir \u00f6rt\u00fck anlam ya da s\u00fcblime mesaj \u00e7al\u0131\u015fmalar\u0131, Yeni Dada formalizmi, Duchamp\u2019\u0131n \u201cHaz\u0131r Nesne\u201d(Ready Made) ba\u011flam\u0131ndaki i\u015fleri veya g\u00fcncel sanatta s\u0131k\u00e7a kar\u015f\u0131m\u0131za \u00e7\u0131kan kimlik, tinsellik ve mahremiyet gibi kavramsal olu\u015fumlarla benzerlik g\u00f6sterir ve bu tarz bir sanatsal \u00f6neri; her t\u00fcrl\u00fc \u00e7a\u011fda\u015f sanat yorumu, yakla\u015f\u0131m\u0131 ya da \u00e7\u00f6z\u00fcmlemesi, her \u015feyden \u00f6nce tek ba\u015f\u0131na tart\u0131\u015fmal\u0131 bir s\u00fcre\u00e7 ortaya koymaktad\u0131r.<\/p>\n

\u00c7\u0131k\u0131nta\u015f sanat\u0131n\u0131n temel ilkeleri, kendi ruhsal titre\u015fimlerinin ifadesi olarak somut de\u011fil, soyutlanm\u0131\u015f formlar bi\u00e7iminde kendisini g\u00f6sterir. \u0130lgin\u00e7 bir \u015fekilde sanat nesnesine ba\u015fka anlamlar vererek onu yeniden d\u00f6n\u00fc\u015ft\u00fcren \u00c7\u0131k\u0131nta\u015f, g\u00f6r\u00fcs\u00fc ve teknik becerisi ile kendi ba\u015f\u0131na hi\u00e7bir anlam\u0131 olmayan bi\u00e7imleri, belirli bir amaca y\u00f6nelik fikir ve kavramlarla doldurur. Bu durum, sanatsal bi\u00e7eminin kavramsal karakterini a\u00e7\u0131k\u00e7a ortaya koyar. \u00c7\u0131k\u0131nta\u015f esteti\u011fi aslen, geleneksel estetik ve entelekt\u00fcel sanat felsefesinden ziyade, bir ruh durumu ya da duyarl\u0131l\u0131k tarz\u0131 olarak kar\u015f\u0131m\u0131za \u00e7\u0131kmaktad\u0131r. Soyut sanat\u0131n \u00f6nc\u00fcs\u00fc Vassily Kandinsky\u2019nin mistik bir yap\u0131da birle\u015fen formlar\u0131 nas\u0131l bir i\u00e7kin gereklilikten g\u00fcd\u00fclendiyse, \u00c7\u0131k\u0131nta\u015f formlar\u0131 da, ezoterik bir yap\u0131da birle\u015fen yap\u0131lar\u0131 ve ruhani i\u00e7 dinamikleri ile ayn\u0131 i\u00e7sel gereklili\u011fin nihai \u00fcr\u00fcnleri olarak de\u011ferlendirilebilir.<\/p>\n

 <\/p>\n

\"\"
02KOT NO,0570-200×1.85-tual \u00fczeri akrilik.-2011<\/figcaption><\/figure>\n

Ger\u00e7ekte, gazetelerden kesilmi\u015f ya da g\u00fcndelik hayattan imgeler ta\u015f\u0131yan grafik par\u00e7alar\u0131n\u0131n ya da s\u00f6zc\u00fcklerin yap\u0131tlara kat\u0131lmas\u0131, bi\u00e7imsel a\u00e7\u0131dan K\u00fcbistlerin ve sonras\u0131nda Dadac\u0131lar\u0131n kulland\u0131klar\u0131 teknikleri an\u0131msat\u0131r. Ge\u00e7en y\u00fczy\u0131lda ya\u015fam\u0131\u015f Dadac\u0131larla ayn\u0131 kayg\u0131lar\u0131 ta\u015f\u0131m\u0131yor olsa da, kendine \u00f6zg\u00fc g\u00f6r\u00fc\u015f, duyu\u015f, anlay\u0131\u015f ve anlat\u0131\u015f \u00fcslubu (bi\u00e7em) bak\u0131m\u0131ndan \u00f6znel bir fikri, kar\u015f\u0131t bir fikirle sorgulayarak yeni bir anlay\u0131\u015fla sunmaktad\u0131r. T\u0131pk\u0131 Hegel\u2019in \u201cdiyalektik mant\u0131k\u201d anlay\u0131\u015f\u0131nda oldu\u011fu gibi: \u00d6nce tez, sonra anti tez ve sentez\u2026 Hegel\u2019e g\u00f6re sanat, maddeye sokulan ve maddeyi kendine benzeten sanat\u00e7\u0131n\u0131n ruhudur. \u00c7\u0131k\u0131nta\u015f\u2019\u0131n kolaj ve asamblaj d\u00fczenlemelerinin yan\u0131 s\u0131ra di\u011fer sanatsal pratikleri, tamamen kendi i\u00e7sel duygulan\u0131mlar\u0131n\u0131n sanat\u0131na yans\u0131yan g\u00f6r\u00fcnt\u00fcleri olarak Hegel \u00f6\u011fretisine yak\u0131n g\u00f6r\u00fcn\u00fcr. \u00d6rne\u011fin; solo sergi a\u00e7\u0131l\u0131\u015flar\u0131nda giydi\u011fi tasar\u0131m kost\u00fcmler, bu ger\u00e7e\u011fi do\u011frular gibidir.<\/p>\n\n

\u00c7\u0131k\u0131nta\u015f esteti\u011fi, do\u011fan\u0131n dirimini ve d\u00fczenini, giyilebilir bir sanat nesnesinden hareketle, bu kez sanat\u00e7\u0131n\u0131n kendi bedeni \u00fczerinden g\u00f6stermi\u015ftir. Eski ve i\u015flevselli\u011fini yitirmi\u015f bir e\u015fya \u00fczerine kurgulad\u0131\u011f\u0131 kolaj d\u00fczenlemelerini kost\u00fcm olarak giyerek sanat\u0131n\u0131n aynas\u0131 olan sanat\u00e7\u0131, sergi sunumuna da b\u00f6ylece dahil olur. Ayr\u0131ca \u00fczerine giydi\u011fi sanat yap\u0131t\u0131ndan par\u00e7a par\u00e7a b\u00f6l\u00fcmlerin, elinde tuttu\u011fu bo\u015f tuval \u015fasesinden g\u00f6r\u00fcnd\u00fc\u011f\u00fc ilgin\u00e7 bir sanatsal pratik, sergide izleyici ile bulu\u015fturulur. Di\u011fer taraftan b\u00f6ylesi bir performans, hayat\u0131n sanatsall\u0131\u011f\u0131na bir i\u015faret gibi de yorumlanabilir. \u00c7\u0131k\u0131nta\u015f\u2019\u0131n neredeyse her sergisinde bir gelenek haline getirdi\u011fi kost\u00fcm performanslar\u0131nda oldu\u011fu gibi kendine \u00f6zg\u00fc sanatsal bak\u0131\u015f a\u00e7\u0131s\u0131 ve Dionysos\u2019cu cesur giri\u015fimleri, s\u0131ra d\u0131\u015f\u0131l\u0131\u011f\u0131yla ger\u00e7ekten de \u00f6vg\u00fcy\u00fc hak eder.<\/p>\n

Kimi \u00e7al\u0131\u015fmalar\u0131, t\u0131pk\u0131 do\u011fan\u0131n ya da evrenin gizli yap\u0131s\u0131nda oldu\u011fu gibi \u00e7okluktan, birli\u011fe; yani \u00f6zden t\u00f6ze giden bir betimlemeyi \u00f6nerir. Bu \u00e7al\u0131\u015fmalarda \u00c7\u0131k\u0131nta\u015f, daha \u00e7ok renkler ve bi\u00e7imlerin matematik uyumunu g\u00f6zler \u00f6n\u00fcne serer. Do\u011fal hayatta birbirinin yarat\u0131c\u0131s\u0131 olan veya birbirinin tamamlay\u0131c\u0131s\u0131 olan olgular\u0131n ahengi olduk\u00e7a estetik g\u00f6r\u00fcnmektedir. Do\u011fa ile ba\u015f ba\u015fa kal\u0131nd\u0131\u011f\u0131 zaman hissedilen bu ola\u011fan\u00fcst\u00fc duygu, onun ritmik uyumudur. Bilindi\u011fi gibi uyumun yani harmoninin temeli \u00e7oklukta birli\u011fe dayanmaktad\u0131r. Kozmik alanda birbirine ba\u011fl\u0131 hatta i\u00e7 i\u00e7e ge\u00e7mi\u015f ritimlerin ahenkli yap\u0131s\u0131, \u00e7okluktan birli\u011fe giden bir olguya g\u00f6nderir.<\/p>\n

\"\"<\/p>\n

Suprematism\u2019in \u00f6nc\u00fcs\u00fc Kazimir Malevich\u2019in bir objeye ba\u011fl\u0131 olmaktan kurtard\u0131\u011f\u0131 saf bi\u00e7imler \u00f6\u011fretisi olan \u2018soyut geometrik\u2019 anlay\u0131\u015f\u0131nda oldu\u011fu gibi, \u00c7\u0131k\u0131nta\u015f esteti\u011finde duygulan\u0131m, his ve sezgi, en iyi bir \u015fekilde, safla\u015fm\u0131\u015f bi\u00e7im ve monochromatic rengin a\u00e7\u0131kl\u0131 koyulu varyasyonlar\u0131yla ifade edilir. Sanat\u00e7\u0131, hem geleneksel, g\u00f6r\u00fcnt\u00fcsel ve sembolik uygulamalarla, hem \u00f6znel kurgular ve constructivist yap\u0131lar\u0131yla, hem de ritmik bir d\u00fczenin i\u00e7inde \u00e7oklu par\u00e7alara b\u00f6lerek ayr\u0131\u015ft\u0131rma ve ironiyi hapsetti\u011fi soyut geometrik d\u00fczenlemeleriyle izleyicisinin ilgi alan\u0131na d\u00e2hil olur. Bir simyac\u0131 gibi o, evrendeki gizli uyumu yakalay\u0131p tuval y\u00fczeyine yans\u0131tmay\u0131 ba\u015farm\u0131\u015f, i\u00e7inde bulundu\u011fu mek\u00e2nda izleyicisini \u00e7oktan etki alan\u0131na alm\u0131\u015ft\u0131r art\u0131k\u2026<\/p>\n

\u00c7\u0131k\u0131nta\u015f yap\u0131tlar\u0131n\u0131n, denge-dengesizlik\/d\u00fczen-d\u00fczensizlik gibi statik durumlar\u0131n\u0131n i\u00e7inde meydana getirdi\u011fi devinimle, sadele\u015ftirilmi\u015f renk varyasyonlar\u0131n\u0131n yayd\u0131\u011f\u0131 titre\u015fimle ve hali haz\u0131rda i\u00e7inde bulundu\u011fu mek\u00e2n ile birlikte okunmas\u0131 gerekir. \u00d6te yandan, bir k\u0131sm\u0131n\u0131n farkl\u0131 ve genelde i\u015flenmi\u015f al\u00e7akg\u00f6n\u00fcll\u00fc malzemeler kullan\u0131larak olu\u015fturulan \u00e7al\u0131\u015fmalar oldu\u011fu d\u00fc\u015f\u00fcn\u00fcld\u00fc\u011f\u00fcnde, ciddi anlamda geleneksel beklentilerle ku\u015fat\u0131lan bir sanat bi\u00e7eminin k\u0131r\u0131lmas\u0131 ba\u011flam\u0131nda, sanat formlar\u0131n\u0131n, kendilerini s\u0131n\u0131rlayan geleneklerden kurtar\u0131lmas\u0131na yard\u0131mc\u0131 olmas\u0131 bak\u0131m\u0131ndan \u00f6nemli oldu\u011funu d\u00fc\u015f\u00fcn\u00fcyorum. Bu tarz alternatif teknik ve yenilik\u00e7i bir sanat anlay\u0131\u015f\u0131n\u0131, tekd\u00fczeli\u011fe d\u00fc\u015fmeyerek sanat\u0131 canland\u0131rmaya arac\u0131 giri\u015fimler olarak de\u011ferlendirmek gerekiyor.<\/p>\n

13 Kas\u0131m-14 Aral\u0131k 2018 tarihleri aras\u0131nda Harbiye Kenter Tiyatrosu\u2019nun \u00fczerinde yer alan Antonino Sanat Galerisi\u2019nde sanat\u00e7\u0131n\u0131n bir solo sergisi d\u00fczenleniyor. \u201cEvrenin Du\u015fu da Sanat m\u0131?\u201d ba\u015fl\u0131kl\u0131 sergi, sanat\u00e7\u0131n\u0131n yap\u0131tlar\u0131ndan se\u00e7ilmi\u015f \u00f6rnekleri g\u00f6rmek i\u00e7in iyi bir f\u0131rsat!<\/p>\n

Meral BOSTANCI (MA)<\/strong>(ii)<\/em><\/p>\n

Sabahat \u00c7\u0131k\u0131nta\u015f Kimdir?<\/h3>\n
\"\u00c7\u0131k\u0131nta\u015f
Sabahat \u00c7\u0131k\u0131nta\u015f Kimdir?<\/figcaption><\/figure>\n
\n

i: Kandinsky, V. (2009) Sanatta Zihinsellik \u00dcst\u00fcne, s. 64. \u00c7eviri: Tevfik Turan. Hayalbaz Kitabevi: \u0130stanbul.<\/em>
\nii: Art Theory and Criticism.<\/em><\/p>\n\n","protected":false},"excerpt":{"rendered":"

Sanat direkt\u00f6r\u00fc ve yazar Meral Bostanc\u0131\u2019n\u0131n kaleme ald\u0131\u011f\u0131 “\u00c7\u0131k\u0131nta\u015f Esteti\u011finin Dirimsel Y\u00f6n\u00fc” ba\u015fl\u0131kl\u0131 yaz\u0131s\u0131;<\/p>\n","protected":false},"author":3,"featured_media":270515,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[6221,6670],"tags":[120863,195956],"class_list":["post-270507","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kultur","category-sanat","tag-meral-bostanci","tag-sanat"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.nationalturk.com\/tr\/wp-json\/wp\/v2\/posts\/270507","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\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.nationalturk.com\/tr\/wp-json\/wp\/v2\/comments?post=270507"}],"version-history":[{"count":0,"href":"https:\/\/www.nationalturk.com\/tr\/wp-json\/wp\/v2\/posts\/270507\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.nationalturk.com\/tr\/wp-json\/wp\/v2\/media\/270515"}],"wp:attachment":[{"href":"https:\/\/www.nationalturk.com\/tr\/wp-json\/wp\/v2\/media?parent=270507"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.nationalturk.com\/tr\/wp-json\/wp\/v2\/categories?post=270507"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.nationalturk.com\/tr\/wp-json\/wp\/v2\/tags?post=270507"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}