![\"A](\"http:\/\/warholamag.com\/wp-content\/uploads\/2016\/05\/BARLOW_2-1024x768.jpg\")
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HER D\u00dc\u015eEN\u0130N KANADI YOKTUR<\/strong><\/p>\n 9 Haziran\u201318 Eyl\u00fcl 2016<\/strong><\/p>\n K\u00fcrat\u00f6r: Selen Ansen<\/strong><\/p>\n \n Arter<\/strong>\u2019de 9 Haziran\u201318 Eyl\u00fcl 2016<\/strong> tarihleri aras\u0131nda \u201cHer D\u00fc\u015fenin Kanad\u0131 Yoktur\u201d<\/strong> ba\u015fl\u0131kl\u0131 bir grup sergisi yer al\u0131yor. Bas Jan Ader, Phyllida Barlow, Cyprien Gaillard, Ryan Gander, Mikhail Karikis & Uriel Orlow, Void <\/strong>ve Anne Wenzel<\/strong>\u2019in eserlerini biraraya getiren serginin k\u00fcrat\u00f6rl\u00fc\u011f\u00fcn\u00fc Selen Ansen<\/strong> \u00fcstleniyor.<\/p>\n \u201cYer\u00e7ekimi\u201d ve \u201ca\u011f\u0131rl\u0131k\/vakar\u201d kavramlar\u0131 etraf\u0131nda geli\u015ftirilen \u201cHer D\u00fc\u015fenin Kanad\u0131 Yoktur\u201d isimli sergi, d\u00fc\u015fme eylemini fiziksel bir d\u00fc\u015f\u00fc\u015f, beceriksizlik ya da yetersizlikten kaynaklanan bir sonu\u00e7, veya k\u00f6t\u00fc yazg\u0131n\u0131n\/lanetin getirdi\u011fi ka\u00e7\u0131n\u0131lmaz son gibi ilk \u00e7a\u011fr\u0131\u015f\u0131mlar\u0131n\u0131n \u00f6tesine ge\u00e7erek ele al\u0131yor. Her \u015feyin her an d\u00fc\u015ft\u00fc\u011f\u00fc ve d\u00fc\u015fmeye devam etti\u011fi fikrinden hareket eden sergi, bir toz zerreci\u011finin onu yere inmeye zorlayan kaderiyle dilimizin ucundan d\u00f6k\u00fcl\u00fcveren s\u00f6zc\u00fcklerin kaderini birbirine ba\u011flayan ortak bir ko\u015fula i\u015faret ediyor ve maddesel olsun ya da olmas\u0131n her \u015feyi d\u00fc\u015fmeye zorlayan bu ortak zeminde, beklenmedik ile s\u0131radan olan\u0131 birbirine ba\u011flayan ba\u015f d\u00f6nd\u00fcr\u00fcc\u00fc bir hareketin \u00fcretici g\u00fcc\u00fcn\u00fc a\u00e7\u0131\u011fa \u00e7\u0131karmay\u0131 ama\u00e7l\u0131yor. Sergiye omurgas\u0131n\u0131 veren d\u00fc\u015fme eylemi, ger\u00e7ekli\u011fin y\u00fcceltilmesine dayal\u0131 bir sanat gelene\u011finden uzakla\u015farak, y\u00fczeyle me\u015fgul olan ve dipte olmay\u0131 kabullenen bir sanatsal jestin izini s\u00fcrmeyi m\u00fcmk\u00fcn k\u0131l\u0131yor \u2013daha iyi d\u00fc\u015febilmek ve yenilebilmek i\u00e7in.<\/p>\n Y\u00fckseli\u015f ve d\u00fc\u015f\u00fc\u015f aras\u0131ndaki dengeye odaklanan sergi, en ki\u015fisel izleklerden t\u00fcm be\u015feri yap\u0131(t)lara, hatta toplumlar\u0131n seyrine uzanan bir \u00f6l\u00e7ekte \u00e7\u00f6k\u00fc\u015f\u00fcn s\u00fcreklili\u011fini ara\u015ft\u0131r\u0131yor. Yer\u00e7ekiminin g\u00fcc\u00fcn\u00fc a\u00e7\u0131\u011fa \u00e7\u0131karan sergideki i\u015fler, kendi zamanlar\u0131na tan\u0131kl\u0131k eden ve mit k\u00f6kenli gelenekten uzak y\u00fckseli\u015f ve ini\u015fler sunarak t\u00fcm zamanlara ait ve tarihsel s\u0131n\u0131rlar\u0131 a\u015fan bir dinami\u011fi ba\u011flam i\u00e7ine yerle\u015ftiriyorlar.<\/p>\n Phyllida Barlow, \u00e7arpma kavram\u0131ndan hareketle \u00fcretti\u011fi mek\u00e2na \u00f6zg\u00fc iki yerle\u015ftirmeyle \u00e7ok katmanl\u0131 bir \u201cmanzara\u201d in\u015fa ediyor. Barlow\u2019un mek\u00e2na yay\u0131lan yerle\u015ftirmesi mevcut mimari yap\u0131n\u0131n i\u00e7indeki fiziki kuvvetleri ve duygusal gerilimleri vurgularken, Mikhail Karikis ve Uriel Orlow\u2019un terkedilmi\u015f bir k\u00f6m\u00fcr madeninde kaydettikleri video \u00e7al\u0131\u015fmas\u0131nda, topra\u011f\u0131n alt\u0131ndaki sesler, geri \u00e7a\u011f\u0131rd\u0131klar\u0131 an\u0131larla beraber y\u00fczeye \u00e7\u0131k\u0131yor ve izleyiciyi yeralt\u0131 d\u00fcnyas\u0131na ad\u0131m atmaya davet ediyor.<\/p>\n Ryan Gander\u2019in yerle\u015ftirmesi, Piet Mondrian ile Theo Van Doesburg aras\u0131nda dik a\u00e7\u0131lar \u00fczerine ya\u015fanan tarihi bir ihtilaf\u0131 mek\u00e2nsal bir m\u00fccadeleye terc\u00fcme ediyor. Hepsi ayr\u0131 yerlerden f\u0131rlat\u0131lm\u0131\u015f gibi g\u00f6r\u00fcnen y\u00fczlerce siyah ok, sergi mek\u00e2n\u0131n\u0131 bir sava\u015f alan\u0131na d\u00f6n\u00fc\u015ft\u00fcr\u00fcyor. Yollar\u0131n ve y\u00f6nlerin \u00e7e\u015fitlili\u011fine bir \u00f6vg\u00fc niteli\u011findeki bu yap\u0131t, ger\u00e7ek ile kurgunun \u00e7arp\u0131\u015ft\u0131\u011f\u0131 bir sahne sunarken, asl\u0131nda mutlakl\u0131\u011f\u0131n ve dikeyli\u011fin otoritesinden ba\u015fka hi\u00e7bir \u015feyin d\u00fc\u015fmekte olmad\u0131\u011f\u0131 bir alan yarat\u0131yor.<\/p>\n Sergide ayr\u0131ca Bas Jan Ader\u2019in sanat tarihinde etkili olmu\u015f \u201cD\u00fc\u015f\u00fc\u015f\u201d temal\u0131 serisinden \u00fc\u00e7 adet 16mm film de g\u00f6sterilecek. Ader, do\u011frudanl\u0131kla \u015fiirselli\u011fin kesi\u015fiminde yer alan bu filmlerde kendini yer\u00e7ekimine teslim olup d\u00fc\u015fen bir fig\u00fcr olarak sunuyor. Ader\u2019in filmlerinde kendi iste\u011fiyle tekrarlad\u0131\u011f\u0131 ve asla ayn\u0131 \u015fekilde ger\u00e7ekle\u015fmeyen d\u00fc\u015fme jesti bir sonuca da ula\u015fm\u0131yor. Ses gibi maddi olmayan olgularla \u00e7al\u0131\u015fan Void ikilisi ise \u0130stanbul\u2019dan se\u00e7tikleri \u00e7e\u015fitli y\u00fczeylerin kal\u0131b\u0131n\u0131 \u00e7\u0131kar\u0131yor ve bu kal\u0131plar\u0131 ses \u00e7\u0131karan nesnelere d\u00f6n\u00fc\u015ft\u00fcr\u00fcyorlar. \u0130kili, izleyiciyi kentteki sakl\u0131 an\u0131lara ve izlere kulak vermeye davet ediyor.<\/p>\n Cyprien Gaillard\u2019\u0131n \u201cPruitt Igoe D\u00fc\u015f\u00fcyor\u201d adl\u0131 video yerle\u015ftirmesi ve Anne Wenzel\u2019in \u201cSessiz Manzara\u201d adl\u0131 yerle\u015ftirmesi d\u00fc\u015f\u00fc\u015f ile \u00e7\u00f6k\u00fc\u015f aras\u0131ndaki akrabal\u0131\u011fa i\u015faret ederken \u201cy\u00fccelik\u201d sorunsal\u0131n\u0131 da g\u00f6zler \u00f6n\u00fcne seriyor. Wenzel\u2019in bir duvar resmi, su dolu bir tank ve seramik heykelleri bir araya getiren yerle\u015ftirmesinde izleyici, ad\u0131 konmam\u0131\u015f bir felaketin ya da ondan geriye kalanlar\u0131n rahats\u0131z edici ve karanl\u0131k g\u00fczelli\u011fiyle kar\u015f\u0131la\u015f\u0131yor. Gaillard’\u0131n bir bina y\u0131k\u0131l\u0131rken \u00e7\u0131kan yo\u011fun toz duman\u0131n\u0131n sessiz karelerini Niyagara \u015eelalesi\u2019nin k\u00f6p\u00fckleriyle arka arkaya getirdi\u011fi videosu, 18. ve \u00f6zellikle 19. y\u00fczy\u0131lda ra\u011fbet g\u00f6ren y\u0131k\u0131nt\u0131 esteti\u011fini g\u00fcn\u00fcm\u00fczde g\u00f6steriye duyulan i\u015ftahla i\u00e7 i\u00e7e ge\u00e7irerek yeniden canland\u0131r\u0131yor.<\/p>\n Sergiye, Selen Ansen\u2019in kavramsal \u00e7er\u00e7evesinin yan\u0131nda sanat tarih\u00e7isi Bar\u0131\u015f Acar ve yazar Emre Ayvaz\u2019\u0131n kaleme ald\u0131\u011f\u0131 metinleri i\u00e7eren iki dilli bir yay\u0131n da e\u015flik edecek.<\/p>\n Selen Ansen<\/strong><\/p>\n Selen Ansen (1975) \u0130stanbul\u2019da ya\u015fayan bir k\u00fcrat\u00f6r ve sanat teorisyeni. Y\u00fcksek lisans\u0131n\u0131 Modern Edebiyat ve Film \u00c7al\u0131\u015fmalar\u0131, doktoras\u0131n\u0131 ise Estetik alan\u0131nda tamamlad\u0131. 2009 ile 2015 y\u0131llar\u0131 aras\u0131nda Bilgi \u00dcniversitesi\u2019nde felsefe ve estetik \u00fczerine dersler verdikten sonra, 2015’te Arter\u2019in k\u00fcrat\u00f6r ekibine kat\u0131ld\u0131. Arter\u2019deki \u201cYara\u201d ba\u015fl\u0131kl\u0131 Berlinde de Bruyckere ki\u015fisel sergisi (2012), \u201cAkl\u0131n Uykusu\u201d ba\u015fl\u0131kl\u0131 Marc Quinn ki\u015fisel sergisi (Arter, 2014) ve \u201cIt takes two to make an accident\u201d [Kaza yapmak i\u00e7in iki ki\u015fi gerekir] ba\u015fl\u0131kl\u0131 karma serginin (HISK, Bel\u00e7ika, 2015) k\u00fcrat\u00f6rl\u00fc\u011f\u00fcn\u00fc yapt\u0131.<\/p>\n Arter<\/strong><\/p>\n \u0130stiklal Caddesi No: 211 <\/strong><\/p>\n Beyo\u011flu, \u0130stanbul<\/strong><\/p>\n <\/p>","protected":false},"excerpt":{"rendered":" HER D\u00dc\u015eEN\u0130N KANADI YOKTUR 9 Haziran\u201318 Eyl\u00fcl 2016 K\u00fcrat\u00f6r: Selen Ansen Arter\u2019de 9 Haziran\u201318 Eyl\u00fcl 2016 tarihleri aras\u0131nda \u201cHer D\u00fc\u015fenin Kanad\u0131 Yoktur\u201d ba\u015fl\u0131kl\u0131 bir grup sergisi yer al\u0131yor. Bas Jan Ader, Phyllida Barlow, Cyprien Gaillard, Ryan Gander, Mikhail Karikis & Uriel Orlow, Void ve Anne Wenzel\u2019in eserlerini biraraya getiren serginin k\u00fcrat\u00f6rl\u00fc\u011f\u00fcn\u00fc Selen Ansen \u00fcstleniyor. \u201cYer\u00e7ekimi\u201d […]<\/p>\n","protected":false},"author":1,"featured_media":2340,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[30,1],"tags":[],"class_list":["post-2339","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art-in-architecture","category-homepage"],"_links":{"self":[{"href":"https:\/\/warholamag.com\/tr\/wp-json\/wp\/v2\/posts\/2339","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=2339"}],"version-history":[{"count":2,"href":"https:\/\/warholamag.com\/tr\/wp-json\/wp\/v2\/posts\/2339\/revisions"}],"predecessor-version":[{"id":3857,"href":"https:\/\/warholamag.com\/tr\/wp-json\/wp\/v2\/posts\/2339\/revisions\/3857"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/warholamag.com\/tr\/wp-json\/wp\/v2\/media\/2340"}],"wp:attachment":[{"href":"https:\/\/warholamag.com\/tr\/wp-json\/wp\/v2\/media?parent=2339"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/warholamag.com\/tr\/wp-json\/wp\/v2\/categories?post=2339"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/warholamag.com\/tr\/wp-json\/wp\/v2\/tags?post=2339"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"GANDER_1\"](\"http:\/\/warholamag.com\/wp-content\/uploads\/2016\/05\/GANDER_1-1024x680.jpg\")
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