International refereed journal of design and architecture print issn
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- ISSN Print: 2148-8142 Online: 2148-4880 (ISO 18001-OH-0090-13001706 / ISO 14001-EM-0090-13001706 / ISO 9001-QM-0090-13001706 / ISO 10002-CM-0090-13001706)
- PRINT ISSN: 2148-8142 - ONLINE ISSN: 2148-4880
- KAYNAKÇA ANTMEN, A., (2009).
- CANETTI, E.
- DANTO, A. C., (2010).
- KUSPİT, D., (2006).
- PRINT ISSN: 2148-8142 - ONLINE ISSN: 2148-4880 WARD, G., (2014).
- PRINT ISSN: 2148-8142 - ONLINE ISSN: 2148-4880 EXTENDED ABSTRACT
MTD www.mtddergisi.com ULUSLARARASI HAKEMLİ TASARIM VE MİMARLIK DERGİSİ Ocak / Şubat / Mart / Nisan 2017 Sayı: 10 Kış - İlkbahar INTERNATIONALREFEREEDJOURNAL OF DESIGNANDARCHITECTURE January / February / March / April 2017 Issue: 10 Winter – Spring ID:143 K:236 ISSN Print: 2148-8142 Online: 2148-4880 (ISO 18001-OH-0090-13001706 / ISO 14001-EM-0090-13001706 / ISO 9001-QM-0090-13001706 / ISO 10002-CM-0090-13001706) (Marka Patent No / Trademark) (2015/04018 – 2015/GE/17595) 160 ULUSLARARASI HAKEMLİ TASARIM MİMARLIK DERGİSİ INTERNATIONAL REFEREED JOURNAL OF DESIGN AND ARCHITECTURE PRINT ISSN: 2148-8142 - ONLINE ISSN: 2148-4880 tış, kuratörlük, bienaller ve fuarlar tümüyle hepsi satın alabilen bu azınlık kitleye yönelik düzenlemelerdir. Ve Şükran Moral’in perfor- mansı da –sadece belli kişilere galaya katılıp canlı performansı izleme şansına sahip olabi- len- sadece seçilmiş kişilerin ayrıcalığına ait- bir zevk sunumudur. Onlara hitap etmektedir, başka kişilere ise sadece bu konuda konuşup tartışmak düşmektedir. Tıpkı zengin kesim- lerin, evlerinde özel defileler düzenlemeleri gibi ayrıcalıklı eğlenceler. Sanat da bu popü- ler zevklere alet edilmiştir. Bir tür sokak atığı olmuştur. Galeriler sonuç olarak tam anla- mıyla çöplüğe dönüşmüşlerdir. Sanat sırça köşklerin aristokratlara ve burju- vaya ait olan sanat olmaktan çıkarılıp sokağa çıkması, modern sanat ile başarılmıştır. Yani halka karışmıştır. Halk sanatı kendini geliş- tirip, kendini yüksek sanat gördüğünde ise artık estetik, kavramsal, sanatsal anlamlar taşımaktan çok ekonomi piyasasının bir para mülkü haline gelmiştir. KAYNAKÇA ANTMEN, A., (2009). 20. Yüzyıl Batı Sanatında Akımlar, 2. Baskı, Sel Yayıncılık, İstanbul BAYKAM, B., (1999). Maymunların Resim Yapma Hakkı, 1. Baskı, Literatür Yayıncılık, İstanbul CABANNE, P., (1971) Dialogues With Marcel Duchamp by Pierre Cabanne, trans: from French by Ron Padgett, D. A. Capo Press, Inc, Özgün Baskı: thames. Hudson, London CANETTI, E., (2006). Kitle ve İktidar, çev: Gülşat Aygen, 3. Baskı, Ayrıntı Yayınları, İstanbul CLARK, T., (2004). Sanat ve Propaganda Kitle Kültürü Çağında Politik İmge, çev: Esin Horuşçu, Ayrıntı yayınları, İstanbul DANTO, A. C., (2010). Sanatın Sonundan Sonra, çev: Zeynep Demirsü, 1. Baskı, Ayrıntı Yayınları, İstanbul EROĞLU, Ö., (2005). Sanat1, 1. Baskı Nelli Sanatevi, İstanbul HARRISON, C., WOOD, P., (2011). Sanat ve Kuram 199-2000 Değişen Fikirler Antolojisi, çev: Sabri Gürses, 1. Baskı, Küre Yayınları, İstanbul KUSPİT, D., (2006). Sanatın Sonu, çev: Yasemin Tezgiden, 2. Baskı, Metis Yayınları, İstanbul LUCIE-SMİTH, E., (1977). Art Today, Phaidon Yayınları RAGON, M., (2009). Modern Sanat, çev: Vivet Kanetti, 1. Baskı, Hayalbaz Yayınevi, İstanbul MTD www.mtddergisi.com ULUSLARARASI HAKEMLİ TASARIM VE MİMARLIK DERGİSİ Ocak / Şubat / Mart / Nisan 2017 Sayı: 10 Kış - İlkbahar INTERNATIONALREFEREEDJOURNAL OF DESIGNANDARCHITECTURE January / February / March / April 2017 Issue: 10 Winter – Spring ID:143 K:236 ISSN Print: 2148-8142 Online: 2148-4880 (ISO 18001-OH-0090-13001706 / ISO 14001-EM-0090-13001706 / ISO 9001-QM-0090-13001706 / ISO 10002-CM-0090-13001706) (Marka Patent No / Trademark) (2015/04018 – 2015/GE/17595) 161 ULUSLARARASI HAKEMLİ TASARIM MİMARLIK DERGİSİ INTERNATIONAL REFEREED JOURNAL OF DESIGN AND ARCHITECTURE PRINT ISSN: 2148-8142 - ONLINE ISSN: 2148-4880 WARD, G., (2014). Postmodernizmi Anlamak, çev: Tufan Göbekçin, 1. Baskı, Optimist Yayınevi, İstanbul İNTERNET KAYNAKLARI arsiv.sabah.com.tr/2006/04/30/gny/gny107- 20060430-200.html http://www.huffingtonpost.com/udo- ka-okafor/exclusive-interview-with- _18_b_5442141.html (erişim tarihi: 26.01.2017) http://www.lebriz.com/pages/lsd.aspx?lang= TR§ionID=6&articleID=1293&bh cp=1 (erişim tarihi: 24.01.2017) MTD www.mtddergisi.com ULUSLARARASI HAKEMLİ TASARIM VE MİMARLIK DERGİSİ Ocak / Şubat / Mart / Nisan 2017 Sayı: 10 Kış - İlkbahar INTERNATIONALREFEREEDJOURNAL OF DESIGNANDARCHITECTURE January / February / March / April 2017 Issue: 10 Winter – Spring ID:143 K:236 ISSN Print: 2148-8142 Online: 2148-4880 (ISO 18001-OH-0090-13001706 / ISO 14001-EM-0090-13001706 / ISO 9001-QM-0090-13001706 / ISO 10002-CM-0090-13001706) (Marka Patent No / Trademark) (2015/04018 – 2015/GE/17595) 162 ULUSLARARASI HAKEMLİ TASARIM MİMARLIK DERGİSİ INTERNATIONAL REFEREED JOURNAL OF DESIGN AND ARCHITECTURE PRINT ISSN: 2148-8142 - ONLINE ISSN: 2148-4880 EXTENDED ABSTRACT After the modern art, anti-aesthetic attitudes in art has become into an inexticable position. The line between artistic and non-artistic has been unvisible, and everything became more and more complicated. Art galleries and museums are now our everyday living spaces as well. It is told that staggering is good, in conclusion shocking and even irritating is seen everywhere, shown as avangard. At this point, the most fascinating and the most disconcertinginventor in contemporary art is known to be Marcel Duchamp. The Post-Duchamp era has used a more re- volutionary language and this is the break point. Duchamp has achieved to be in serenity from which he never departed and which gave his teorems an undeniable grandeur; one divined a man not only detached, but ‘preserved’. Some ruptures, as former is Duchamp, are exemplifi- ed by some artists’ most scandallous works. Shouldn’t be forgotten that Duchamp was a great saboteur, the relentless enemy of painterly paintings. No wonder he smiled at art history, while making sure his work ended up in museums. As Picasso and Matisse did in the past. Picasso, in questioning himself what art is, immediately thought, “What is not?”. They all had in common a sort of progressive refusal of traditional means. They established a new plastic function in space, on the other words. The second work was “Piss Christ” from Andres Serrano. Religious themes and representations, are all around in everydaylife. It’s not only about composition or formal aesthetic but a sense of solitude, of emptiness that you can find even in the church. Religious objects have become stil life objects in art. His Bodily Fluid series, he used the fluids like paint to make purely abstract works. But this work was a real bomb blast, which arose great reaction in public. Third and very extraordinary performance was Damien Hirst’s installation being dumped by a cleaner working in the Eyestorm Gallery. The cleaner having mistaken it for rubbish after the opening of the exhibition. The gallery owner and Hirst himself, calimed that the cleaner (Emmanuel Asare) added a positive outcome by encouraging debate of what art is and what isn’t, which was really healthy. This event was not the last, which avoke thought of in art as in life, garbage relates to power struggles. Rubbish has then occupied a noteworthy place within art. Fourth and fifth warks are performed by two Turkish artists, one man and the other Italy living female performance artist. Bedri Baykam, has exhibited his napkin which was used after his first sexual experience after 35 years, within his auto-biographic notes. This perfor- mance, exploded in newspapers and art critics. He was sued of exhibitionism and porongraphy in public. But his explanation was that it was ‘a brief of how men live’ on earth. Şükran Moral Yüklə 38,03 Mb. Dostları ilə paylaş:
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