{"id":1560,"date":"2015-09-04T09:38:27","date_gmt":"2015-09-04T09:38:27","guid":{"rendered":"http:\/\/warholamag.com\/?p=1560"},"modified":"2015-09-04T09:38:27","modified_gmt":"2015-09-04T09:38:27","slug":"all-is-external-yerim-seni","status":"publish","type":"post","link":"https:\/\/warholamag.com\/tr\/all-is-external-yerim-seni\/","title":{"rendered":"ALL IS EXTERNAL – YER\u0130M SEN\u0130!"},"content":{"rendered":"

<\/p>\n

\u0130smet Do\u011fan sergisi \u00fczerine bir deneme <\/em><\/strong><\/p>\n

\u00c7a\u011fda\u015f sanat her \u015feyden \u00f6nce kendisini, kendisinden \u00f6nceki belki de t\u00fcm zamanlar\u0131n sanatlar\u0131ndan do\u011frudan edinilen keyiften ka\u00e7an ve bildi\u011fimiz anlamda estetik olandan uzakla\u015fan \u00fcretimler ile ortaya koyar. Ar\u0131 bir g\u00fczellik alg\u0131lamas\u0131n\u0131n kar\u015f\u0131t\u0131 bir ifade kendisini kar\u015f\u0131la\u015fmakta en \u00e7ok zorland\u0131\u011f\u0131m\u0131z, g\u00f6rselli\u011fin g\u00f6r\u00fclmekten ziyade bilin\u00e7-d\u0131\u015f\u0131nda bir sars\u0131nt\u0131dan ibaret ya\u015fant\u0131land\u0131\u011f\u0131 bir s\u00fcre\u00e7. Simgeselle\u015ftirilemeyen kat\u0131 ger\u00e7eklik alan\u0131na bir n\u00fcfuz etme an\u0131, travmatik olan ile bir kar\u015f\u0131la\u015fma hali. Bu; bir y\u00f6n\u00fcyle kendilerini kand\u0131r\u0131lm\u0131\u015f hisseden ku\u015faklar i\u00e7in \u201cbast\u0131r\u0131lan\u0131n geri d\u00f6nd\u00fc\u011f\u00fc\u201d bir yeni ger\u00e7eklik alg\u0131lamas\u0131na denk d\u00fc\u015ft\u00fc\u011f\u00fc ya da ge\u00e7 kapitalizmin i\u00e7inde yol bulmak i\u00e7in elveri\u015fli bir ara\u00e7 oldu\u011fu da s\u00f6ylenebilir. Bu; sanat\u0131n g\u00fcc\u00fcd\u00fcr ve g\u00fcc\u00fcn\u00fc ger\u00e7ekten almaktad\u0131r.<\/p>\n

\"8\"<\/p>\n

 <\/p>\n

Lacan\u2019\u0131n dedi\u011fi gibi semptomu icat eden ki\u015fi Marx ise, bu bize a\u00e7\u0131k\u00e7a \u015funu g\u00f6sterir ki b\u00fct\u00fcnc\u00fcl toplumsal d\u00fczem ile benli\u011fimizin i\u00e7sel alanlar\u0131 aras\u0131ndaki yap\u0131lar ortak s\u00fcre\u00e7lere ba\u011flan\u0131r. Ger\u00e7eklik bir t\u00fcr \u00fcretimdir ve hakikat ile ba\u011flar\u0131n\u0131 semptom \u00fczerinden g\u00f6sterir. Bu i\u00e7eri ile d\u0131\u015far\u0131 aras\u0131ndaki ayr\u0131m\u0131n delindi\u011fi, fantezi taraf\u0131ndan ayakta tutulan benli\u011fimizin sars\u0131ld\u0131\u011f\u0131 and\u0131r. Ayn\u0131 zamanda da bu, sistemin kendi bekas\u0131n\u0131 sa\u011flamak ad\u0131na \u00fcretti\u011fi kodlaman\u0131n ar\u0131zaland\u0131\u011f\u0131 hissini verdi\u011fi i\u00e7in de ki\u015fi de garip bir \u00f6zg\u00fcrl\u00fck duygusuna neden olan and\u0131r.<\/p>\n

\u0130smet Do\u011fan\u2019\u0131n resimleri ve videolar\u0131 iki farkl\u0131 bi\u00e7imde \u00e7a\u011fda\u015f sanat\u0131n bu \u015fok etkisinin yal\u0131n \u00fcretim ifadesini ta\u015f\u0131r. Bu a\u00e7\u0131dan videolar resimlere oranla daha elveri\u015fli ara\u00e7lard\u0131r. Hareketimgenin s\u00fcreklili\u011fi tekrar (geri-sar\u0131m) ile birle\u015fince eylemin kendisi ses-imgenin de deste\u011fini alarak izleyici \u00fczerinde ka\u00e7mas\u0131na f\u0131rsat tan\u0131mayan bir etkide bulunur. Bu etki videodaki minimal mekan ve s\u00fcre ile daha da \u00e7arp\u0131c\u0131 hale gelmektedir. \u0130zleyici kusmalar ile kusma sesleri ve et par\u00e7as\u0131 ile etin duvardaki \u00e7arpmas\u0131n\u0131n yaratt\u0131\u011f\u0131 ses kar\u015f\u0131s\u0131nda dolays\u0131z bir durumla kar\u015f\u0131 kar\u015f\u0131yad\u0131r. \u0130\u015fte semptomatik olan\u0131n kusma ve et ile ortak ba\u011flar\u0131 burada kendisini g\u00f6sterir. Kusma ve et i\u00e7erinin; saf ve y\u00fcce olan her \u015feyin tersi, dile getirilmesi imk\u00e2ns\u0131z olan\u0131n a\u00e7\u0131\u011fa \u00e7\u0131k\u0131\u015f\u0131d\u0131r.<\/p>\n

\"3\"<\/p>\n

\n

Resimler ise videolardan farkl\u0131 olanaklar ile kendilerini ortaya koyar. Bu a\u00e7\u0131dan \u0130smet Do\u011fan resimlerinde yine ger\u00e7ek so\u011fuk maddesel bir imgelemle, fantezi ile belirlenen kurmaca aras\u0131nda bir ara ge\u00e7i\u015flili\u011fe a\u00e7\u0131l\u0131r. Bu a\u00e7\u0131dan b\u00fcy\u00fck \u00f6l\u00e7ekli resimler, izleyicinin alg\u0131s\u0131na daha g\u00fc\u00e7l\u00fc bir m\u00fcdahale halindedir ve yine ona ka\u00e7ma f\u0131rsat\u0131 vermek istemezler. Bu resimdeki beden imgeleri yasan\u0131n fantezi olarak yeniden \u00fcretti\u011fi bir arzu nesnesi, kusmuk ise bu s\u00fcre\u00e7te \u00f6dedi\u011fimiz bedele kar\u015f\u0131l\u0131k gelen i\u011fren\u00e7lik(abject) duygusudur. Kristeva\u2019n\u0131n genel tan\u0131m\u0131na g\u00f6re, \u201ci\u011fren\u00e7\u201d(abject) bir ben olabilmek i\u00e7in kurtulmam gerekenlerin t\u00fcm\u00fcd\u00fcr. \u0130\u011fren\u00e7, bu yolla annenin bedeni ile baban\u0131n kanunu aras\u0131ndaki zamansal ge\u00e7i\u015fi etkiledi\u011fi kadar s\u0131n\u0131rlar\u0131m\u0131z\u0131n, i\u00e7 ve d\u0131\u015flar\u0131m\u0131z\u0131n uzamsal ayr\u0131m\u0131n\u0131n k\u0131r\u0131lganl\u0131\u011f\u0131n\u0131 \u2013 yani anlam\u0131n \u00e7\u00f6kt\u00fc\u011f\u00fc durumu-\u00a0 ortaya koyar.<\/p>\n

Bu y\u00f6nden \u0130smet Do\u011fan resimleri Deleuze\u2019\u00fcn felsefe dilinde \u201ck\u0131vr\u0131m\u201d diye adland\u0131rd\u0131\u011f\u0131 yerde kendisini yeniden g\u00f6sterir.\u00a0 Deleuze, topolojik olarak i\u00e7 mek\u00e2n\u0131n d\u0131\u015far\u0131s\u0131yla temas halinde oldu\u011funu yeniden dile getirecektir. Bunu sa\u011flayan k\u0131vr\u0131md\u0131r. K\u0131vr\u0131m, i\u00e7eriyle d\u0131\u015far\u0131y\u0131 ya\u015fayan \u015fimdinin s\u0131n\u0131r\u0131nda y\u00fcz y\u00fcze getirmektedir. D\u0131\u015far\u0131s\u0131n\u0131n sabit bir s\u0131n\u0131r olamad\u0131\u011f\u0131n\u0131 ve peristaltik hareketlerle canland\u0131r\u0131lm\u0131\u015f hareket eden bir madde oldu\u011funu belirtir. Bu hareket k\u0131vr\u0131mlar ve k\u0131v\u0131rmalarla (folds and foldings) sa\u011flanacakt\u0131r ve bir b\u00fct\u00fcn olarak bak\u0131ld\u0131\u011f\u0131nda bir i\u00e7eri(si) olu\u015fturacakt\u0131r. Burada ilgin\u00e7 olan sudur. Ayni yerde Deleuze sunu da i\u015faret edecektir: \u2018i\u00e7ler\/i\u00e7eriler d\u0131\u015far\u0131dan farkl\u0131 de\u011fildir. Kesinkes d\u0131\u015far\u0131n\u0131n i\u00e7erisidir.<\/p>\n

\"2\"<\/p>\n

\n

Bu a\u00e7\u0131dan ister i\u00e7eriyle d\u0131\u015far\u0131s\u0131 aras\u0131ndaki s\u0131n\u0131r ihlalleri olarak isterse de birbirlerini olu\u015fturan bir b\u00fct\u00fcnl\u00fckl\u00fc ge\u00e7i\u015flilik hali olarak ortaya konulsun, \u0130smet Do\u011fan sergisi bizi ger\u00e7ekli\u011fin farkl\u0131 bir d\u00fczlemine sokar. Bu a\u00e7\u0131dan izleyici videolar olsun resimler olsun dahil oldu\u011fu bak\u0131\u015f\u0131n ka\u00e7makla kurtulamayaca\u011f\u0131 etkisi alt\u0131nda kalacakt\u0131r. \u00c7\u00fcnk\u00fc temel g\u00fcc\u00fcn\u00fc bilin\u00e7-d\u0131\u015f\u0131 ile kurdu\u011fu dolays\u0131z ba\u011fdan alan imgelemler izleyicinin ka\u00e7sa da saklanamayaca\u011f\u0131 yani yakalanmaktan kurtulamayaca\u011f\u0131 bir oyuna girmesi anlam\u0131na gelmektedir. \u0130\u00e7erisinin d\u0131\u015far\u0131s\u0131 haline geldi\u011fi travmatik bir oyun.<\/p>\n

Efe Korkut Kurt <\/strong><\/p>\n

<\/p>","protected":false},"excerpt":{"rendered":"

\u0130smet Do\u011fan sergisi \u00fczerine bir deneme \u00c7a\u011fda\u015f sanat her \u015feyden \u00f6nce kendisini, kendisinden \u00f6nceki belki de t\u00fcm zamanlar\u0131n sanatlar\u0131ndan do\u011frudan edinilen keyiften ka\u00e7an ve bildi\u011fimiz anlamda estetik olandan uzakla\u015fan \u00fcretimler ile ortaya koyar. Ar\u0131 bir g\u00fczellik alg\u0131lamas\u0131n\u0131n kar\u015f\u0131t\u0131 bir ifade kendisini kar\u015f\u0131la\u015fmakta en \u00e7ok zorland\u0131\u011f\u0131m\u0131z, g\u00f6rselli\u011fin g\u00f6r\u00fclmekten ziyade bilin\u00e7-d\u0131\u015f\u0131nda bir sars\u0131nt\u0131dan ibaret ya\u015fant\u0131land\u0131\u011f\u0131 bir s\u00fcre\u00e7. […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-1560","post","type-post","status-publish","format-standard","hentry","category-homepage"],"_links":{"self":[{"href":"https:\/\/warholamag.com\/tr\/wp-json\/wp\/v2\/posts\/1560","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/warholamag.com\/tr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/warholamag.com\/tr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/warholamag.com\/tr\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/warholamag.com\/tr\/wp-json\/wp\/v2\/comments?post=1560"}],"version-history":[{"count":1,"href":"https:\/\/warholamag.com\/tr\/wp-json\/wp\/v2\/posts\/1560\/revisions"}],"predecessor-version":[{"id":1564,"href":"https:\/\/warholamag.com\/tr\/wp-json\/wp\/v2\/posts\/1560\/revisions\/1564"}],"wp:attachment":[{"href":"https:\/\/warholamag.com\/tr\/wp-json\/wp\/v2\/media?parent=1560"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/warholamag.com\/tr\/wp-json\/wp\/v2\/categories?post=1560"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/warholamag.com\/tr\/wp-json\/wp\/v2\/tags?post=1560"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}