{"id":86038,"date":"2011-10-24T09:57:47","date_gmt":"2011-10-24T06:57:47","guid":{"rendered":"http:\/\/www.nationalturk.com\/?p=86038"},"modified":"2019-03-28T10:41:57","modified_gmt":"2019-03-28T07:41:57","slug":"modern-sanat-muzeleri-ozgunlugunu-yitirdi-1596","status":"publish","type":"post","link":"https:\/\/www.nationalturk.com\/tr\/modern-sanat-muzeleri-ozgunlugunu-yitirdi-1596\/","title":{"rendered":"Modern sanat m\u00fczeleri \u00f6zg\u00fcnl\u00fc\u011f\u00fcn\u00fc yitirdi mi?"},"content":{"rendered":"

\"\"<\/a><\/h4>\n

NationalTurk yorumcusu akademisyen Dr. \u00d6zkan Ero\u011flu \u2018nun bu haftaki \u201cModern sanat m\u00fczeleri \u00f6zg\u00fcnl\u00fc\u011f\u00fcn\u00fc yitirdi mi?\u201d adl\u0131 makalesini payla\u015f\u0131yoruz.<\/h4>\n

\u00dclkemizde her an kaliteli sanat hareketi olmad\u0131\u011f\u0131ndan bir sanat ele\u015ftirmeni olarak d\u00fcnyadaki sanat konusu \u00fczerinden y\u00fcr\u00fcyerek, s\u00f6z konusu mevzular\u0131 da g\u00fcndeme ta\u015f\u0131man\u0131n ka\u00e7\u0131n\u0131lmaz bir durum oldu\u011funu biliyor ve konunun alt\u0131n\u0131 \u00e7izmek istiyorum. Bu nedenle ge\u00e7mi\u015fte okuyup, kenara ar\u015fivledi\u011fim bir yaz\u0131y\u0131 \u00f6nce burada aynen verip, daha sonra bu yaz\u0131 \u00fczerinden vurguya kurgu yaparak g\u00f6r\u00fc\u015flerimi yazmak istiyorum.<\/p>\n

Roberta Smith’in 21 \u015eubat 2010’da New York Times’da \u015f\u00f6yle bir yaz\u0131s\u0131n\u0131 okumu\u015ftum:<\/p>\n

\u201c\u015eu anda her yerde \u00e7ok say\u0131da sanat icra ediliyor. Ancak bunu New York\u2019un belli ba\u015fl\u0131 m\u00fczelerinde \u00f6zellikle de bu sezon sergilenen modern sanat eserlerine bakarak anlayabilmemiz pek m\u00fcmk\u00fcn de\u011fil.<\/p>\n

Gabriel Orozco\u2019nun Modern Sanatlar M\u00fczesi\u2019nde g\u00f6sterimde olan sergisinin yan\u0131 s\u0131ra Roni Horn\u2019un Whitney M\u00fczesi\u2019ndeki ve Urs Fischer\u2019in New Museum\u2019daki k\u0131sa s\u00fcre \u00f6nce a\u00e7\u0131lan sergileri pek \u00e7ok olumlu olumsuz ele\u015ftiri ald\u0131. T\u0131pk\u0131 Tino Sehgal\u2019\u0131n; Guggehheim\u2019\u0131n normalde bo\u015f duran kubbesinde a\u00e7\u0131lan performans sergisi gibi. Ancak bu sanat\u00e7\u0131lar hakk\u0131nda ne d\u00fc\u015f\u00fcn\u00fcyor olursan\u0131z olun, sergileri ne yaz\u0131k ki ayn\u0131 tornadan \u00e7\u0131km\u0131\u015f gibi, g\u00f6rsel bir sadelik ve so\u011fukluk ta\u015f\u0131yor.<\/p>\n

\"\"<\/a>
Chris Ofili<\/figcaption><\/figure>\n

Koleksiyon yapmak, galeri a\u00e7mak ve bir sanat\u00e7\u0131 olmak gibi mz\u00fcede sergi a\u00e7man\u0131n da amac\u0131, kendi sesinizi bularak \u201cbireysel\u201d ve \u201c\u00f6zg\u00fcn\u201d olmakt\u0131r. Ancak bunun yerine, sanatsal anar\u015finin hakim oldu\u011fu 1970\u2019lerin ilk d\u00f6nemine ait el de\u011fmeden haz\u0131rlanm\u0131\u015f gibi duran ve entelekt\u00fcel olarak da g\u00f6z dolduran bir kar\u0131\u015f\u0131m\u0131n \u00f6rneklerini g\u00f6r\u00fcp duruyoruz. Kavramsal sanat\u0131n, s\u00fcre\u00e7 sanat\u0131n\u0131n, performans sanatlar\u0131n\u0131n, enstalasyonlar\u0131n bir araya geldi\u011fi bu kar\u0131\u015f\u0131m, en \u00e7ok da Post Minimalizm ile ili\u015fkilendiriliyor. Ya da biz, ak\u0131m\u0131n en sayg\u0131n \u00f6nc\u00fclerinin sergilerinden \u00f6rnekler g\u00f6r\u00fcyoruz. Whitney M\u00fczesi 2005\u2019ten beri Robert Smithson, Lawrence Weiner, Gordon Matta- Clark ve Dan Graham\u2019\u0131n sergilerine ev sahipli\u011fi yapt\u0131. Sadece sanat eserinin manevile\u015ftirilmesini \u2013 ya da d\u00fczg\u00fcn bir bi\u00e7imde yeniden maddele\u015ftirilmesini- kabul edemeyiz.<\/p>\n

Eksik olan \u015fey, tek bir ki\u015finin yo\u011fun ki\u015fisel ihtiyac\u0131 sonucu ortaya \u00e7\u0131kt\u0131\u011f\u0131 belli olan sanat eserleri. Bu t\u00fcrdeki eserlerin hepsi olmasa da\u00e7o\u011fu resim dal\u0131nda. M\u00fczeler ise resme art\u0131k eskisi kadar ilgi g\u00f6stermiyor.<\/p>\n

Bol katmanl\u0131 ve renkli eserleriyle resim sanat\u0131n\u0131 farkl\u0131 bir noktaya ta\u015f\u0131yan Philip Taafe\u2019nin neden New York\u2019ta b\u00fcy\u00fck bir sergisi a\u00e7\u0131lmad\u0131? Chris Ofili\u2019nin \u00e7arp\u0131c\u0131 renk kar\u0131\u015f\u0131mlar\u0131yla bezeli, pop\u00fcler k\u00fclt\u00fcr ve kimlik politikas\u0131ndan izler bar\u0131nd\u0131ran retrospektif sergisi neden \u0130ngiltere\u2019deki Tate M\u00fczesi\u2019nde sergilendi de New York\u2019taki bir m\u00fczede sergilenmiyor? Ve neden s\u0131n\u0131rs\u0131z bir \u00e7e\u015fitlili\u011fe ve buna kar\u015f\u0131n inan\u0131lmaz tutarl\u0131l\u0131\u011fa sahip Joe Zucker gibi bir sanat\u00e7\u0131n\u0131n eserlerini hi\u00e7 bir yerde g\u00f6remiyoruz? Halk bo\u015f bir m\u00fczeye sanat diyebiliyorsa, pamuk yumaklar\u0131yla yap\u0131lm\u0131\u015f tablolar\u0131 da kald\u0131rabilir. Ben \u015fahsen Marlene Dumas\u2019\u0131n ge\u00e7enlerde Modern Sanatlar M\u00fczesi\u2019nde sergilenen, pi\u015firilip pi\u015firilip \u00f6n\u00fcm\u00fcze konan d\u0131\u015favurumcu eserleri yerine Joe Zucker\u2019\u0131n d\u00fczg\u00fcn bir \u015fekilde sergilenmi\u015f eserlerini g\u00f6rmeyi tercih ederim.<\/p>\n

\"\"<\/a>
Dana Schutz<\/figcaption><\/figure>\n

Guggenheim, Modern Sanatlar M\u00fczesi ya da Whitney M\u00fczesi kadar tutucu de\u011fil. Sehgal g\u00f6sterisi ve 2008\u2019deki \u201cTheanyspacewhatever\u201d sergisiyle her an her \u015feyin olabilece\u011fi imaj\u0131 veriyor. Ancak bir sanat\u00e7\u0131n\u0131n azimli ve bir seferde tek bir objeyi ele alan son derece ki\u015fisel aray\u0131\u015f\u0131n\u0131 g\u00f6rd\u00fc\u011f\u00fcm\u00fcz sergiler, genelde eski ustalara yer verme e\u011filimi i\u00e7inde. Guggenheim\u2019da k\u0131sa s\u00fcre \u00f6nce a\u00e7\u0131lan muhte\u015fem Vasily Kandinsky sergisi de buna bir \u00f6rnek. Modern Sanatlar M\u00fczesi\u2019ndeki James Ensor sergisi de \u00f6yle. Ancak g\u00fcn\u00fcm\u00fczde bu \u015fekilde \u00e7al\u0131\u015fan \u00e7ok say\u0131da sanat\u00e7\u0131 var.<\/p>\n

Laura Owen\u2019\u0131n ya da Dana Schutz\u2019un eserlerinin k\u00fc\u00e7\u00fck ve iyi d\u00fczenlenmi\u015f birer m\u00fcze sergisi olarak a\u00e7\u0131lmamas\u0131 ger\u00e7ekten \u00e7ok ilgin\u00e7. Ayn\u0131 \u015fey daha b\u00fcy\u00fck bir sergi a\u00e7abilecek olan Lari Pittman i\u00e7in de ge\u00e7erli. Post minimalizme mizah katan ve onu daha eri\u015filebilir yapan Avrupal\u0131 sanat\u00e7\u0131lar aras\u0131nda Rosemarie Trockel ve Fischli&Weiss da bulunuyor. Birileri \u00e7\u0131k\u0131p Peter Doig\u2019in ilk tablolar\u0131n\u0131 sergilemeli.<\/p>\n

M\u00fcze k\u00fcrat\u00f6rlerinin halka ve tarihe kar\u015f\u0131 daha evrensel olma ad\u0131na bir sorumluluklar\u0131 vard\u0131r. Resmin yan\u0131 s\u0131ra video, foto\u011fraf ve heykelden olu\u015fan dengeli bir se\u00e7ki olu\u015fturmak zorundalar. Hem d\u00fc\u015f\u00fcnce kal\u0131plar\u0131n\u0131n d\u0131\u015f\u0131na \u00e7\u0131kmal\u0131 hem de neyin hatal\u0131 bir \u015fekilde d\u0131\u015far\u0131da b\u0131rak\u0131ld\u0131\u011f\u0131n\u0131 ve bize ger\u00e7ekten neyi sevdiklerini g\u00f6stermek i\u00e7in kendi \u00f6znelliklerinden yararlanmal\u0131lar.\u201d<\/p>\n

\"\"<\/a>
Marlene Dumas, Andy Warhol<\/figcaption><\/figure>\n

G\u00f6r\u00fc\u015f\u00fcm olarak;<\/p>\n

Modern sanat m\u00fczeleri \u00f6zg\u00fcnl\u00fc\u011f\u00fcn\u00fc yitirdi mi? sorusuna modern sanat \u00f6zg\u00fcnl\u00fc\u011f\u00fcn\u00fc yitirdi mi? sorusuyla cevap aramak gerekiyor. Bu da yetmiyor, soruyu, modern yerine \u201c\u00e7a\u011fda\u015f\u201d nitelemesiyle tekrardan kurgulayarak \u00fczerinde d\u00fc\u015f\u00fcnmek gerekiyor.<\/p>\n

Neyse, her t\u00fcrl\u00fcs\u00fcnden \u015fu basamaklar\u0131n \u00f6nemi oldu\u011fu dile getirilebilir:<\/p>\n

1. Yukar\u0131daki iki y\u00f6nl\u00fc soru sorma bi\u00e7imi i\u00e7inde de olsa, \u00e7a\u011fda\u015f sanat i\u00e7indeki modern dizgeyi do\u011fru okumak gerekiyor. Bunun i\u00e7in baz\u0131 kategorilere ihtiya\u00e7 oldu\u011fu dile getirilebilir.
\n1.1. Yan\u0131lsamal\u0131 Bo\u015fluk Yaratma ve \u00c7a\u011fda\u015f \u0130ll\u00fczyon Meselelerine D\u00f6n\u00fckl\u00fck
\n1.2. Seyrek Elemanlarla D\u00fcz Arka Planlar E\u015fli\u011finde Anlat\u0131mc\u0131l\u0131k
\n1.3. Ge\u00e7irgen Y\u00fczeyler, \u00d6n Plan\u0131n Arka Plan\u0131 Soyutlamas\u0131
\n1.4. Par\u00e7alara \/ Fragmanlara Dayal\u0131 Geli\u015fmeler
\n1.5. Klasik Form Bozmalar\u0131ndan Esinlenmek
\n1.6. Yeni Fantastik Boyut E\u011filimleri
\n1.7. Masal Anlatmaya D\u00f6n\u00fckl\u00fck
\n1.8. Yeni Fig\u00fcr Aray\u0131\u015f\u0131
\n1.9. \u0130\u011fretilik ve S\u0131radanl\u0131k Pe\u015finde
\n1.10. Sal\u0131nan Y\u00fczey ya da \u00c7izgi Film Esteti\u011fine D\u00f6n\u00fckl\u00fck
\n1.11. Renk Tasar\u0131m\u0131na D\u00f6n\u00fck Olmak
\n1.12. \u00dc\u00e7 Boyutlu Konstr\u00fcksiyon Taslaklar\u0131yla Bi\u00e7im Yaratmalar
\n1.13. Aniden \/ O An Soyut \u00c7abalar
\n1.14. Resimden Mek\u00e2na
\n1.15. Yeni Geometrinin Yenisi Y\u00f6n\u00fcndeki Geli\u015fmeler
\n1.16. Bir Geri Plan ve Fig\u00fcr \u00c7abas\u0131
\n1.17. Y\u00f6re Etkisinin \u00d6n Plana \u00c7\u0131kmas\u0131
\n1.18. Boyanm\u0131\u015f, Renge Dayal\u0131 Yeni K\u00fctle Anlay\u0131\u015flar\u0131
\n1.19. Renk, Geometrik Form, Anlat\u0131 ve Fig\u00fcr Birlikteli\u011fi
\n1.20. Resim Y\u00fczeyini Yararak Ortaya \u00c7\u0131kmalar<\/p>\n

2. Ger\u00e7ek ele\u015ftiri ve bu ele\u015ftirinin g\u00fcc\u00fcn\u00fc nereden ald\u0131\u011f\u0131n\u0131n iyi ortaya konulmas\u0131.
\n2.1 Statik Ele\u015ftiri
\n\u0130\u00e7inde mutlak bir politik yanl\u0131l\u0131k bar\u0131nd\u0131r\u0131r. Zaten bu t\u00fcr ele\u015ftiriler ele\u015ftiri olmad\u0131\u011f\u0131 gibi, inand\u0131r\u0131c\u0131l\u0131\u011f\u0131 da bulunmad\u0131\u011f\u0131ndan bo\u015fa at\u0131lm\u0131\u015f fi\u015feklere benzer.
\n2.2. Dinamik Ele\u015ftiri
\nTamamen tarafs\u0131zd\u0131r, ele\u015ftiri sadece kendi ve yazan\u0131 i\u00e7in vard\u0131r. \u0130nan\u0131lan dile getirilir.<\/p>\n

3. Klasiklerin (20. ve 21. y\u00fczy\u0131l\u0131n d\u0131\u015f\u0131nda kalan her \u015fey) i\u00e7indeki yarat\u0131c\u0131-itici g\u00fcc\u00fc tespit edip, en temel hatlar\u0131yla ortaya koymak meselesi (\u00c7a\u011f\u0131n\u0131n \u00d6n\u00fcndekiler).<\/p>\n

4. \u00d6zg\u00fcnl\u00fckle ilgili temel kavramlar ve alt kavramlar\u0131n\u0131n g\u00fcn \u0131\u015f\u0131\u011f\u0131na \u00e7\u0131kar\u0131lmas\u0131.
\n4.1. Do\u011fal olan
\n4.1.1. Paleolitik sanat
\n4.1.2. \u00c7ocuklar\u0131n ortaya koyduklar\u0131
\n4.1.3. Delilerin g\u00fcndeme getirdikleri
\nBu \u00fc\u00e7 dizgeye yakala\u015fan sanat do\u011fal olmaya \u00e7ok yak\u0131nd\u0131r.<\/p>\n

4.2. De\u011fer arayan
\n4.2.1. Ge\u00e7mi\u015fi arkas\u0131na bilin\u00e7li \u015fekilde alan
\n4.2.2. Yak\u0131n\u0131 arkas\u0131na bilin\u00e7li bir \u015fekilde alan
\n4.2.3. Kendini arkas\u0131na alan\/ kendi olan. Bu maddenin de do\u011fal olmakla ba\u011f\u0131nt\u0131lar\u0131 mutlak vard\u0131r diye d\u00fc\u015f\u00fcn\u00fclebilir.<\/p>\n

Dr. \u00d6zkan Ero\u011flu<\/strong><\/p>\n\n\n","protected":false},"excerpt":{"rendered":"

NationalTurk yorumcusu akademisyen Dr. \u00d6zkan Ero\u011flu \u2018nun bu haftaki \u201cModern sanat m\u00fczeleri \u00f6zg\u00fcnl\u00fc\u011f\u00fcn\u00fc yitirdi mi?\u201d adl\u0131 makalesini payla\u015f\u0131yoruz.<\/p>\n","protected":false},"author":9192214,"featured_media":187146,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[6221,5005,6670],"tags":[83529,83528,196075],"class_list":["post-86038","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kultur","category-manset","category-sanat","tag-modern-sanat","tag-modern-sanat-muzesi","tag-ozkan-eroglu"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.nationalturk.com\/tr\/wp-json\/wp\/v2\/posts\/86038","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=86038"}],"version-history":[{"count":0,"href":"https:\/\/www.nationalturk.com\/tr\/wp-json\/wp\/v2\/posts\/86038\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.nationalturk.com\/tr\/wp-json\/wp\/v2\/media\/187146"}],"wp:attachment":[{"href":"https:\/\/www.nationalturk.com\/tr\/wp-json\/wp\/v2\/media?parent=86038"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.nationalturk.com\/tr\/wp-json\/wp\/v2\/categories?post=86038"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.nationalturk.com\/tr\/wp-json\/wp\/v2\/tags?post=86038"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}